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Bring Your Quilts to Crosstown

Quilts are so much more than handmade blankets that keep us warm in the winter. They are objects of emotion, and those who know how may read entire family histories in the fabric scraps and needlework.

An event this Saturday, June 8th, at Crosstown Concourse aims to bring quilts and quilt enthusiasts together to explore the creative process and share family heirlooms and heirlooms-to-be.

Memphis Quilts — an event held in conjunction with Crosstown’s ongoing Stitched Festival — invites the public to bring their favorite quilts to Crosstown. “They can get up on stage and tell a one- or two-sentence story about their quilt and have their picture taken to become part of the historical documentation of the event,” textile artist and event organizer Paula Kovarik says. “Also, we have regional quilt guilds coming in to bring in samples of their work.”

Averell Mondie

From the Stitched exhibition of “BLUE”

The afternoon will be greeted with a different kind of “flash mob.” A group of stitchers who have “hot-rodded” vintage sewing machines will turn quilting into performance as they create blocks for a large quilt to be auctioned off for charity.

“There are lime green ones and bright red-orange ones — all these great historic machines that have been rehabilitated,” Kovarik says.

A quilt appraiser will also discuss the value of new and vintage quilts but will not be available for individual appraisals.

“I don’t want this to be just a bunch of guilds,” Kovarik says. “I want to see people come in with quilts their mothers made and quilts their grandmothers made.”

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News News Blog

Local Artists Get Free Critiques From Peers

Crosstown Arts

A recent Open Crit night.

Once a month, Memphis artists can present their work and get constructive criticism from peers.

At Crosstown Arts’ monthly Open Cric events, artists are given the chance to show off their artwork and receive “critical feedback.”

Each month, participants get to see artwork from up to four different artists, discussing each for about 25 minutes. The discussion will be guided by a facilitator with experience in critique settings.

Crosstown Arts

A recent Open Crit night.

Visual artists of any experience level are welcomed to participate with up to eight new or in progress pieces of any medium. The critiquers don’t have to have any professional art experience. Critiques will “always be done in a supportive, constructive and casual environment, could at the same time be challenging,” Crosstown Arts said.

The next Open Cric is Tuesday, June 11th from 6-8 p.m. at 430 N Cleveland — Crosstown Arts’ gallery and performance space. Participation is free and open to the public.

Crosstown Arts

A recent Open Crit night.

Artists presenting that night are Cassi Rebman, Eric Painter, Sophia Mason, and Mia Richardson. The discussion will be facilitated by Kimberly Jacobs.

Open Crit night is held every second Tuesday of the month. Interested artists can sign up here.

The events are organized in partnership with ArtsMemphis, an organization that supports visual artists in Shelby County through mentoring, advocacy, and funding.

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Film/TV Film/TV/Etc. Blog

Blueshift Ensemble Live-Scores Memphis History Tonight at Crosstown Theater

Memphis’ decentralized bicentennial celebration continues tonight at Crosstown Arts.

As part of the arts organization’s new film series, which is devoted to “showcasing a diverse collection of independent, international, historically significant, artistic, experimental, cult, underground and documentary features,” they’re trying something new. Justin Thompson, Crosstown Arts Director of Film and Video Production, raided the film and video archives at the Memphis Public Library and created a montage of history. From the well-known images of Martin Luther King, Jr. and the Sanitation Workers Strike to obscure footage of sock-hopping teens, our visual story will be accompanied by the Blueshift Ensemble. The neo-classical chamber music group, featuring film composer/cellist Jonathan Kirkscey and musical director/flautist Jenny Davis, will create a semi-improvised soundtrack for Bluff City history. It’s a unique marriage of image and sound you won’t see anywhere else.

The show starts at 7:30 tonight at Crosstown Theater. Tickets are $5 at the door.

CROSSTOWN ARTS FILM SERIES: MEMPHIS BICENTENNIAL BOOGIE TRAILER from Crosstown Arts on Vimeo.

Blueshift Ensemble Live-Scores Memphis History Tonight at Crosstown Theater

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Cover Feature News

The radical quilt work of Paula Kovarik.

People don’t sleep under Paula Kovarik’s quilts.

“No, not on the bed,” she says. “Some of them might be a little too disturbing.”

Kovarik loves traditional quilts, but she’s never made one with a flower on it. Her quilts aren’t the conventional patchwork quilt with stars and diamond patterns.

Round and Round It Goes, one of her quilts, is about “all the threats in the world,” she says. “Like earthquakes and oil usage and financial collapse and dictators and endangered species and overpopulation and forest fires.”

Her quilts, which hang on walls, deal with everything from cancer cells and radio waves to TV signals and computer circuits.

Paula Kovarik

Kovarik, 66, an internationally known quilt maker who lives in Memphis, will be included in “Stitched: Celebrating the Art of Quilting,” which opens May 10th at Crosstown Arts. The festival, which Kovarik organized, features quilts created by artists from around the world.

“Stitched” will include two exhibits: “Masterworks: Abstract and Geometric,” a traveling exhibition of art quilts, and “Blue: A Regional Quilt Challenge,” which Kovarik curated. “Stitched” will also include a series of workshops, gatherings, and presentations that celebrate the art of quilting.

Paula Kovarik

Round and Round It Goes

Martha Sielman, executive director of Studio Art Quilts Associates, curated the “Masterworks” exhibit, which includes Kovarik’s Round and Round It Goes quilt. “What fascinates me about Paula’s work is that it is extremely simple,” Sielman says. “It’s almost completely just a simple black line on a background, but it’s also incredibly complex. Because the imagery she uses is very complex. It’s a really powerful combination.”

“Blue: A Regional Quilt Challenge,” curated by Paula Kovarik, is on display at Crosstown Arts.

Round and Round It Goes was quilted on a round tablecloth with scalloped edges. The viewer’s eyes follow a continuous stretch of black-and-white line drawing-looking images, which include buildings, clouds, and birds, that goes around and around in a dizzying fashion.

Dixon associate curator Julie Pierotti is another Kovarik fan. “I’ve been amazed by Paula Kovarik’s work since I first saw it a few years ago,” Pierotti says. “She takes a medium, quilting, that has such a comforting and sentimental connotation and completely turns it on its head. So there is the initial shock reaction, but when you examine each work closely and see the lines of thread moving through each work, you see how intricate they are and the thought and care Paula puts in.”

Kovarik, who was born in Michigan City, Indiana, says she always made things as a child.

One of her influences was a grade-school teacher who had the class interpret poems with drawings. “I remember thinking, ‘Oh, you can think about words in a different way,'” Kovarik says.

As a Girl Scout, Kovarik learned how to make a fire and build a tent, but she also “learned to use needles in many ways: knitting, crocheting, and sewing.”

Kovarik, who credits her mother as being her first sewing teacher, made her own clothes as a child. “I was a very small fifth grader or sixth grader, whatever. They didn’t have the style of clothes that everybody else was wearing in my size. I really don’t remember if they looked good or not.”

Paula Kovarik

Heartfelt

It wasn’t the finished product that intrigued her. “I love any kind of tool. My father taught me how to use saws and hammers and lawnmowers. Mom was a total teacher in terms of cooking and sewing and all of the motherly arts. I really loved any kind of tool. I loved drafting tools. I loved construction tools.”

A tool is a way to create things, says Kovarik, who uses a sewing machine as the primary tool along with hand stitching to make her quilts. “It’s a way to use my hands to interpret what I’m thinking.”

Kovarik received her degree in graphic design from Southern Illinois University. “Part of our design training at SIU was full-throttled. There was a wood shop. There was a metal shop. There were typography lessons. Things like that. I think I was really enamored of the drill press. I liked to drill holes into things.”

Kovarik met her husband, Jim Kovarik, at a house party in Chicago. “Jim’s had many careers. He’s a writer. He has a master’s degree in technical writing. He’s also a farmer and a carpenter and a woodworker.”

They were back-to-the-landers up in Southern Illinois. “We had an organic farm. We built our own home,” she says.

Kovarik designed the house with the help of her husband. “We had a house raising with design students. It was passive solar. Jim has expertise with concrete, so we built it four feet into the ground for insulation. Oriented it to the sun so it would heat itself.”

They moved to Memphis in the early ’80s after “a family event,” Kovarik says. Their son, Damien, who was three years old, had leukemia. “He got sick, and we really didn’t have any money.”

They got Damien into St. Jude Children’s Research Hospital, but Kovarik wasn’t impressed with Memphis at first. “I didn’t like it,” she says.

In the early ’80s, Memphis was “hard to be in,” says Kovarik, who remembers Downtown at that time. “Everything was boarded up.”

She got a job as a graphic designer at the Ron Hoffman Group. “It’s a great training ground because it’s a small agency. And I learned everything. I had to do everything. I was the designer. I did production work and all kinds of things for graphic design. I learned the business pretty fast because I was the only designer on staff.”

Life kept her in Memphis, she says. “I had a job. Jim had a job. I had started plugging into friends. Slowly but surely it felt like we belonged. We bought a house in Cooper-Young when Cooper-Young wasn’t ‘Cooper-Young.'”

Damien got well. “He’s got two kids. He’s 41 now.”

Their other son, Miles, was born in 1988 in Memphis.

Kovarik opened Shades of Gray, a freelance graphic design firm, where she worked for 30 years. “It was before the books were published. It was pretty amazing when those books came out. People would start giggling when I would answer the phone.”

Her business began doing well. She concentrated on her job. “Didn’t sew a whit for maybe 35 years.”

Her mother got Kovarik back to sewing. “My mother was retired. She started quilting just out of the blue. I thought it was really the most boring thing I’d ever seen. It’s just so traditional,” she says.

It seemed tedious to take squares of cloth “and put them together again and again and again.”

But, she says, “I thought, ‘Well, something in common with my mother. I’ll try it.'”

Kovarik didn’t feel quilting was her medium. And she knew she didn’t want to make a quilt to be used as a bedspread or tablecloth. “Those are beautiful. I love them. But not for me making them,” she notes.

Then she saw some non-traditional quilts. “I thought they were just really more modern interpretations of quilts. They were hanging on a wall instead of a bed. I thought that’s where I could go with this.”

Paula Kovarik

Kovarik describes her first quilt as “just odd patchwork. No rhyme. No reason. No pattern. Just abstract. Abstract compositions. It’s yellow, red, black, and white.”

It took her awhile to find her voice. “I think it took me three or four years to really find out how I was going to approach this medium, experimenting with various techniques and ways of putting quilts together. The more I did it, the more I understood where my voice was coming from.

“Sometimes I come to a piece with an intention, with a communication that I want to make. Other times I come to them just from an emotional standpoint. That can change the technique. It can change the dynamics of the fabric that I use. It can change how I approach a piece.

“Now I’m a little more comfortable in terms of technique. I know how I can do things. Now I’m a lot more free about really approaching it with a free spirit.”

Her work is “really difficult and complicated, but it’s more of an intuitive work than it was in the past. In the past, I had to think about what I was doing and how to do it. Now it’s just doing it.”

Among her quilts is Signals, which took three weeks of stitching. She describes it as “a raw extemporaneous exploration of chaos.”

Paula Kovarik

Signals

Incoming, which is more peaceful, has “flying elements that come in from the left side of the piece.

Paula Kovarik

Incoming

“Watching an insect fly across the yard might inspire me to draw his flight path. Little things that we’re not aware of can affect our reality.”

She made a pair of quilted pillows, which she titled Insomnia. “This was during the economic collapse when you can’t go to sleep because you’re thinking, ‘I’ll never be able to retire.’ I did a ‘his’ and ‘hers’ on that.”

Paula Kovarik

Insomnia

The pillows are favorites of Sielman. “One of the pillow cases is about her experience with insomnia, and the other one is her husband’s experience with insomnia,” Seilman says. “Some of it you can interpret as a viewer, and some of it is symbolic and it makes sense to her. But all you can see is what’s happening on the outside. I love the idea of using a pillow to create an artwork about insomnia.”

Kovarik began making more politically themed quilts after the last election. “I was compelled to do it. I am still compelled. I think we’re at risk. It shows up in my work all the time. The anxiety that I feel comes into my work. The feeling of ‘This is not right. This is really seriously wrong.’ The fact that the public accepts lies every day is really beyond thought.”

Paula Kovarik

Beastie Boy and His Pals

Her brother, Charley Havelka, built a wooden TV for her 14-foot-long scroll quilt, which is titled I Watch Too Much TV News. Yvonne Bobo, the sculptor, created a set of gears that are attached to rollers that rolls the quilt on a continuous 14-foot-long loop.

A lot is going on in the quilt, which includes images made with black and white thread. “There’s a lot of media people that are spewing things and talking about what’s going on. It’s broadcast over satellites and spewed through the air. Then all these various people screaming or shouting or yelling. We have tsunamis and hurricanes. There’s climate change.”

Paula Kovarik

Punditocracy

Prior to the Robert Mueller report, Kovarik created a quilt titled Redacted. The stark black and white quilt features broken lines that evoke a heavily edited document.

Kovarik also does abstract pieces. “I’m experimenting with line and texture and fabric to create whatever comes out. I really try to let the needle tell me where it’s going.

“What I’ve been doing for quite a while now is experimenting more with not only the quilt form, but also drawing with thread.”

Paula Kovarik

Sightlines

Kovarik makes quilts every day, but, she says, “That doesn’t mean I’m successful every day. There are some times I ruin things. A lot of mis-stitches. I can fix them, but sometimes it’s not worth it. Sometimes the composition is bad. Sometimes it’s overworked.”

Her quilts may stay unfinished for some time. “Like this one here,” Kovarik says. “I’ve put together these pieces of fabric. That pieced fabric will sit on the wall maybe a week or two just [so I can] think about what else is going to be on that piece of fabric. ‘How does the texture change it?’ ‘Why would I have texture?’ All those questions come up. Then the actual stitching is extremely time consuming.”

Her feelings result in a “surge of ideas” instead of a surge of quilts. “This is a slow art. I can’t do this quickly.”

She might spend three weeks to a year on one piece. “It’s slow, which allows me to be more contemplative about the message. It allows me to take the spike off the emotions sometimes.”

Kovarik closed her graphic design business about five years ago because she wanted to focus on her art.

She’s in her backyard studio every day — except for an occasional weekend off — from 7 a.m. to 4 p.m. “With a lunch break.”

To date, she’s made about 70 quilts.

“There’s a lot of things that inspire me. Things that I see in nature and in other artists.”

She held up her Pollinators quilt, which she describes as a self portrait. “It’s about the feelings that I have and about things that I’ve seen or thought about. This is very natural. There are a lot of nature references. I’m consistently using grids in my life, so there’s one of those in there. There’s interior thoughts that are coming out. There’s computer circuits. There’s a little bit of everything in there. Putting those all together is kind of my statement of ‘Okay. These are some of the ways I think.'”

The quilt is double sided. “There’s a dark side and a light side.”

Kovarik began showing her quilts — and getting recognition — about 10 years ago. “A friend of mine came in. She saw the pile of quilts under my table and said, ‘What are you going to do with these?’ I said, ‘I don’t know. I’m just going to keep making them. They’ll end up in some garage sale after I pass away.’ She said, ‘You know, there are shows.’ She gave me a couple of names of shows. I applied to one and got in.”

That was Quilt National, a biannual show in Ohio. “I entered. I was accepted. They put me on the cover of the book.”

City, the quilt she entered, sold for $3,000. Her quilts now range from $2,000 to $12,000.

But, Kovarik says, “I’m not interested in selling my work as much as I am in showing my work. I want my art to travel. I have made it a focus to get my pieces in shows that move.”

Quilt National, she says, travels to museums for three years. “I get to think that my message, my piece, my work, is being seen by lots of different people. That’s the focus that I have gone to since I started my work.”

Terri Phillips, exhibitions coordinator for Crosstown Arts, is excited about “Stitched.” Kovarik, she says, has “worked tirelessly for more than a year” as the organizer. “The ‘Blue’ show has brought in over 200 artists, makers, and quilters from the community, which is fundamental to the mission of Crosstown Arts.”

Phillips first saw Kovarik’s quilts in the artist’s solo show, which was held last year at Dixon. “I was floored. For me, they are very intricate and beautiful drawings, the lines being stitched. They are epic, eccentric — the highest compliment — and creative.”

She visited Kovarik’s studio during the planning stages of “Stitched.” “Her studio was a place I could have hung out in all day. Peaceful and quiet. Beautiful light.”

If she tells people she’s a quilter, Kovarik gets the same reaction from them. “They say, ‘Well, my grandmother used to do that,'” she says. “They think I’m doing traditional work. Bedspreads and lap quilts. Sometimes they’re interested or they’re curious enough and they ask to see my work. Sometimes they’re kind of speechless. They don’t know how to react. Sometimes they really like them.

“I stopped saying I’m a quilter. I say I make art with thread and fabric because it stops that grandma discussion.”

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Music Music Blog

Repercussions: Aftermath of Continuum Festival Continues To Inspire

Jamie Harmon

Like the audience, performers from the recent Continuum Music Festival at Crosstown Arts are still reeling from the power of the music they brought to life, and the promise of partnerships they were a part of. Not since the Memphis Symphony Orchestra’s legendary Opus One series, which featured MSO members backing rock bands, singer-songwriters, and rappers alike, has genre-hopping occurred on such a scale in the Bluff City.

Many of the festival’s performing artists are remarking on its game-changing nature. “Continuum was a beautiful platform to explore the boundaries of sound,” says Siphne Aaye of the duo Artistik Approach.

“I did some things I’ve never done before in my life and pushed my performance into a realm of cerebral art that was just as exhilarating as It was challenging,” commented rising producer IMAKEMADBEATS of the Unapologetic collective.

And Brandon Quarles of Chicago’s ~Nois Saxophone Quartet enthused that “The Continuum Music Festival was adventurously curated and offered intriguing and engaging events to audiences from all walks of life. Incredible things are happening in Memphis and Crosstown Arts is leading the charge with its one-of-a-kind facility and creative vision.”

Here we present indelible images by Jamie Harmon and Ben Rednour, capturing those two charmed evenings in the former Sears Tower, which was reverberating with many a novel vibration. Thanks to the tribute to avant garde composer John Cage, the sounds were on the unique side. Unless the Sears potted plant department once hosted an impromptu chamber concert, it was surely the first time cacti were listened to so intently; and though one can imagine multiple radios blaring in Electronics, Aisle 4, way back when, they surely were never coordinated as dynamically as when one ad hoc group performed Cage’s “Imaginary Landscape No. 4 for 12 Radios.”

Co-organizer Jenny Davis was especially delighted at the reception Cage’s music received.”Cage is regarded as one of the most influential of 20th century composers, especially in regards to experimental music, but also in the realms of dance, visual art, and poetry,” she says. “Though Continuum is a primarily a music festival, it also features collaborations between different artist disciplines and musical genres, so Cage seemed like a perfect composer to showcase. His philosophy that sounds of all kinds have value simply as they are is a welcome reminder to us all to be more open to our experiences, to put our preferences and biases aside, and consider the world around us with a new perspective.”

If you missed it, flip through these intriguing photos and imagine what was, and what might be in years to come.

[slideshow-1]

Categories
Music Music Features

Memphis Concrete at Crosstown Arts

On Triangles: Sound in Geometry Series Vol. 1 borrows its title from a 15th-century collection of treatises by Johannes Regiomontanus. The German renaissance astronomer and mathematician, often identified as simply Regiomontanus, claimed his book would explain “all things necessary for anyone wishing to reach perfection” in his or her knowledge of the astronomical sciences. Similarly, On Triangles is a generous 17-track sampler CD showcasing electronic music and soundscapes crafted by the artists playing at this year’s Memphis Concrète Festival. It can make clearer what to expect from a three-day event devoted to experiments and improvisations in electronic sound better than any descriptive overview could ever hope to do. On Triangles is a varied collection of sonic exotica that ranges from pop-inspired and percussive to freaky and free-form.

“Memphis Concrète was a play on words,” festival organizer Robert Traxler says, explaining a desire to mix this cerebral approach to music-making with a hint of regional grit.

“Musique concrète,” the expression Traxler was riffing on when he christened the festival, describes various methods of collecting, organizing, and manipulating recorded sound in ways that aren’t restricted by traditional conventions of melody, harmony, and rhythm. The approach was employed by a variety of 20th-century European artists inspired by the idea of “acousmatic sound” — sound that’s been uncoupled visually from the original source of production. That concept was inspired, appropriately enough, by the Greek mathematician and philosopher Pythagoras, who sometimes lectured his students from behind screens, so they might focus their attention not on him, but on triangles.

“Last year’s festival was basically a proof of concept,” Traxler says. That event was two nights, featured primarily local and regional artists, and all events took place sequentially in Crosstown Arts’ tiny gallery space on Cleveland. This year’s festival moves across the street to the main Concourse and picks up a second stage. The event has also expanded to three nights.

The Memphis Concrète lineup features several area performers, including IMAKEMADBEATS (see cover story, p. 10), singer/songwriter Linda Heck, and DJ/recording artist Mike Honeycutt.

“I think a lot of people around Memphis probably think of Heck playing rock music,” Traxler says. But of “Right,” Heck’s sometimes dreamy, sometimes anxiety-inducing contribution to On Triangles, Traxler says Heck’s “doing something different, and it’s phenomenal. It’s the most straight-up musique concrète on the CD.”

This year’s festival brings a number of national acts to town, including Wolf Eyes, STARFIGHTER YELLOW SUPEROVERDRIVE, and former Dirty Beaches artist Alex Zhang Hungtai. Zhang moved from rock to jazz to even freer forms, creating epic soundscapes and intimate little suites that mix electronics and traditional instruments such as guitar, piano, and drums. Fans of Showtime’s Twin Peaks reboot may also recognize Zhang as a member of the show’s fictional band, Trouble.

Traxler describes Circuit des Yeux as being, “probably the most like what you might think of as a rock band.” Fronted by Haley Fohr, a singer with a multi-octave range, Circuit des Yeux’s sound can be difficult to pin down, with tracks that range from ambient burbles to guitar-driven knife-fights. “It’s an eclectic sound with pop roots,” Traxler says. “And a lot of surprises.”

There’s quite a bit of surprise built into Memphis Concrète’s lineup, including three films with electronic or electronic-friendly soundtracks that will be performed live by festival artists. “Woman in the Moon is a silent film,” Traxler says. “Those are always some of the most fun to do live soundtracks for.”

That’s just a small sample of what’s available at the Memphis Concrète Festival, which is bringing more than 30 artists to the Crosstown Concourse this weekend. On Triangles: Sound in Geometry Series Vol. 1 is available at Shangri-La Records now.

Memphis Concrète Festival at Crosstown Arts, Friday, June 22nd-Sunday, June 24th.

Categories
Music Music Features

Ghost Music: Mellotrons Return to Crosstown Arts

“When I’m playing a real Mellotron, it’s like I’m playing ghosts,” says Pat Sansone, multi-instrumentalist for Wilco, who’s in town for a series of concerts this week. It’s not a comment you would hear about many instruments, but the Mellotron is unique. Its immediate precursor was the Chamberlin, in which strips of audio tape triggered by a keyboard could mimic various orchestral instruments. When a Chamberlin employee absconded to England with two of the machines in 1962, he created his own consumer-oriented model, and the Mellotron was born. The new instrument, using lower fidelity recordings, tended to color the sound of the instruments with its own warble and woof. Before long, it was appearing on records by the Beatles, the Kinks, and others.

It’s that slightly corrupted sound that makes the Mellotron a sought-after keyboard to this day, and it’s what brought Sansone to Memphis to collaborate with three other musicians in shows using multiple Mellotrons simultaneously.

Jamie Harmon

Pat Sansone contemplates the next note

“The way the old Mellotron tapes were recorded, with the amount of degeneration that happened before they got to the machines themselves, they’re just instantly evocative,” Sansone explains. “There’s already a sense of passed time built into those sounds. It’s like a faded photograph, where you see somebody in the corner. There’s a humanity creeping around inside those sounds.”

It was that mechanically tweaked humanity that appealed to Winston Eggleston (the son of photographer William Eggleston) when he plunged into the world of Mellotron schematics to make his own. Eggleston, ended up building and collecting a few of them, leading his friend, musician Robby Grant (Big Ass Truck,  >manualcontrol<, Mouserocket), to ask, “What now?”

As Grant describes the process, “I reached out to cellist Jonathan Kirkscey and we created new music using only Mellotrons. Neither of us was a keyboard player.” But technical virtuosity was not the point. All of Memphis was abuzz with the results: two sold-out shows in 2016, dubbed Duets for Mellotron. The show was enhanced by projections designed by Winston Eggleston and John Markham. 

Jason Schepman

with Jonathan Kirskcey and Robby Grant .

Following the success of the duets, “a person from Crosstown mentioned an interdisciplinary NEA grant — that we eventually were awarded. What we did was make it a lot bigger,” Grant says. “We’re gonna put on multiple shows. The first piece will be Robert Patterson. He’s a composer with the Memphis Symphony Orchestra, and he’s gonna be contrasting the Mellotron with real flutes and real cellos in his chamber music pieces. Then, we have the New Ballet Ensemble (NBE) working with Ross Rice,” the erstwhile Memphian, producer and keyboard wizard.

The capstone of this year’s project, known as Mellotron Variations, will be a performance (again featuring the projections of Eggleston and Markham) by a quartet of Mellotron players including Grant, Kirkscey, Sansone, and jazz/funk keyboardist John Medeski, of the trio Medeski, Martin & Wood. Sansone says he’s excited to be playing with Medeski. “He is such a deep musician, and bringing a whole new level of musicianship to it. He’s a fearless player.”

Jamie Harmon

John Medeski

For Medeski, fearlessness is key. “How do you push the limits of an instrument? That’s what Hendrix and so many great musicians did. This instrument can be both a sampler and, by messing with the speed of the wheel inside it, you can be a DJ. It’s really an expressive thing.”

“I heard a recording of Captain Beefheart doing this incredible Mellotron solo,” Medeski goes on, “that really blew it open for me and made me realize it’s so much more than just fake strings with a weird sound. That inspired me in terms of not being afraid. It’s an expressive instrument unto itself. Imitating something for the sake of imitating it is stupid. Why not just get violin players? But the Mellotron has a total sound of its own.”

Grant and Kirkscey were committed to pushing the instrument’s boundaries as well, in part by recording new sounds, previously unheard in vintage Mellotron iterations, including eerie cello and flute harmonics, backwards guitar, and children reciting spoken word pieces. Together, the four have created semi-improvised works that they’ll premier this week. Medeski notes, “Improvisation is composition; it’s just immediate. You make a sound, and what note you choose next, where you put it in time, is like composing, except you’re doing it really fast. And the other guys are all that kind of musician. It’s such a cool project. I’m just excited to be part of it, and I’m honored.” 

For an exhaustive listing of albums and songs featuring the Mellotron, see Planet Mellotron.

Categories
Music Music Features

How Coco Hames Got to Memphis

Let it be known: Lindsay “Coco” Hames is now a Memphian. Though it may have been difficult for the native Floridian to identify with any particular place over the years, since moving here to be with her husband, music writer Bob Mehr, she feels an affinity for the green spaciousness of Memphis. Of course, she is strongly associated with Nashville, adopted home of the Ettes, the band she helped found in Los Angeles in 2003. And she still feels a connection to the place where she first discovered what it was to feel settled.

After years of living on the road, the Ettes visited Music City and realized “We could stay here! We could get a house, and we could rehearse in the basement, and there’s a yard!” recalls Hames. “I started baking, and [bandmate] Poni [Silver] started sewing, and we’re doing these very normal, domestic things, and we were speaking to other human beings. It was really great. And so we stayed. We definitely wanted to establish some life off the road, because we didn’t have one.”

Hames notes that the very things that made the Ettes a strong touring unit were also obstacles to developing a richer life. “We were so co-dependent. It wasn’t just like a band. We called it the three-headed monster. We did not have lives; we did not have relationships. All we did was tour. We lived in the van; we didn’t have apartments. I thought that’s what everybody did. But life has a way of making itself clear to you, and we knew we had to dismantle the three-headed monster. It was hard, but we had to learn how to be human people.”

Though the band continued a strong career out of Nashville for some time — along with baking, sewing, and even opening the record store Found Object together — it was “learning to be a human person” that ultimately led Hames to chafe at the constraints of the style she ironically dubs le garage.

After releasing four albums and garnering much respect on the trash rock scene, “it had run its course,” she reflects. “I was done writing songs for that construct. It’s great to write songs in that formula; you can write ’em forever. Just listen to [garage rock compilations] Pebbles and Nuggets and just write ’em.”

A collaborative project in 2010 with Reigning Sound’s Greg Cartwright, the Parting Gifts, helped expand her horizons. “We can do anything,” she thought at the time. “We can write prog operas if we want to! So that was a cool project. I didn’t think beyond it. But eventually I was like, ‘Well, when you stop playing with a band, you do a solo record, right?’ So that’s what I did.”

In 2016, she began work on her eponymous solo album at The Bomb Shelter in Nashville, which was released in March. “It was this massive leap of faith for me,” she admits. “After being in a band for so long, this time I was on my own — no gang to hide behind or fall back on.” Hames co-produced the record with Andrija Tokic, whose production credits include the Alabama Shakes, Hurray for the Riff Raff, and others.

Playing guitar, piano, and electric harpsichord, Hames enlisted bassist Jack “LJ” Lawrence (The Raconteurs), drummer Julian Dorio (The Whigs), lead guitarist Adam Meisterhans (The Weight), and veteran organist Dave Amels of Reigning Sound.

“I grew up listening to ’60s pop, like Dusty Springfield, but also classic country music, like Patsy Cline, and things that bridged both worlds, like Bobbie Gentry,” notes Hames. “With this record, the end result doesn’t fit into any one category, which is an exciting thing to me.”

Indeed, the record evokes those artists and their times, but what’s most notable is her openness to the simple beauties of ensemble playing without the de rigueur noise or aggression of le garage.

“I just tried to put together a batch of good songs,” she explains. “And being in the studio with Julian and LJ, I had no idea how they were gonna turn out. And some things turned out like, ‘Is this funky? Is this funky? I don’t know.’ Because Julian and I would just be feeling something out, and then if LJ liked it and Andrija liked it and it was driving somewhere, I would hop onto it.”

The result has the earthiness and historical resonance of many longtime Memphis artists, which made her move to the Bluff City a natural one. And not just for musical reasons: “Well, then I fell in love,” she smiles. “Which, you know, can be very inconvenient, but …” She trails off, wistfully.

Coco Hames, with opening band Little Bandit, will make her Memphis debut at the River Series at the Harbortown Amphitheater on Sunday, October 22, at 3:00 p.m. In case of rain, event will be held at Crosstown Arts.

Categories
Cover Feature News

Crosstown Concourse: The Vertical Village Comes to Life

Saturday will be a crazy Memphis moment. At least, that’s how Todd Richardson sees it.

Richardson is a co-founder of Crosstown Arts, the group that spurred the redevelopment of the massive, empty Sears Crosstown building.

Since 2010, Richardson’s mind has been focused on recruiting partners, signing tenants, finding funding, construction schedules, paperwork, designs, plans, and meetings, meetings, meetings. But at its core, Richardson still calls Crosstown a “miracle.”

“Yeah, at the end of the day, what a crazy Memphis moment?” Richardson says with a laugh. “It was the middle of the recession, and it couldn’t be done. It’s a completely unique redevelopment; there’s not another one like these in the country. So, we’re really celebrating the tenacity of the city for this miracle to happen. To me, that’s what August 19th is all about.”

Saturday is the Crosstown Concourse Opening Celebration, a moment eight years (or, nearly 90) in the making. The celebration starts at 3 p.m. with a dedication ceremony in the Central Atrium. The day continues with tenant open houses, live music, and a screening of a feature-length documentary about the Crosstown project.

Much of the building is already alive with residential and commercial tenants. But loose ends will be tied up as the year goes on — more apartments will be filled, programs will be started, and office workers will soon move into now-empty floors.

At full tilt, nearly 3,000 people will come and go there each day, according to Crosstown officials. That impact (economic and otherwise) will hit the area like an “atom bomb,” at least, in the words of a city official years ago. That energy will flow from a long-neglected “big empty” and revitalize a neighborhood that’s already feeling positive effects, with the potential for transforming a whole section of the city.

The (Way) Backstory

Company men from Sears, Roebuck & Co. quietly arrived in Memphis in the late 1920s, seeking sites for a retail center and catalog order plant. They knew if local property owners thought Sears was interested in their property, their prices would skyrocket. So, the Sears officials drove around town, pointing to sites from their car windows, while, behind them, real estate brokers followed in another car and took notes.

The company eventually settled on Crosstown, a then-suburban neighborhood about two miles from downtown. One hundred and eighty days after construction began, on August 27, 1927, Memphis Mayor Rowlett Paine cut the ribbon on a 640,000 square-foot facility that would employ more than 1,000 people.

That first day, almost 30,000 shoppers came to visit the 53,000-square-foot retail center. At its peak, nearly 45,000 catalog orders left Sears Crosstown each day.

The building also had a small hospital, cafeteria, ladies recreation area, administrative offices, a credit union, board rooms, and “The Cypress Room,” for executive dining.

Forty years later, Crosstown had grown to a mammoth 1.5 million square feet on 19 acres. Unfortunately, like the original mammoth, it had become outdated. Shoppers had headed east and elsewhere. Sears closed the Crosstown retail store in 1983.

The site remained a regional distribution center for Sears. But less than 30 years later, due to the decline in the company’s mail-order business, Sears closed many of its warehouses across the country, including Crosstown. The building was left vacant in 1993 and remained an iconic emtpy tower for more than 20 years.

The (Recent) Backstory

Richardson can tell the story of Crosstown’s recent history in about a minute. He’s an art historian, a professor at the University of Memphis, but he knew the Crosstown property owner. Richardson asked about the building, and that started a “wouldn’t-it-be-cool conversation,” he says, which hasn’t stopped.

“The biggest challenge we had was to get people to see beyond what they see,” Richardson says. “This was a building the size of the Empire State Building that had been empty for 20 years in Memphis. It was in the middle of the recession, so, where do you start and could [anything] ever happen?”

Richardson and Christopher Miner formed Crosstown Arts in 2010 as a nonprofit arts organization that would serve as the building’s developer and would one day also be building tenant.

Two years later, the two had commitments from eight local tenants willing to lease a total of 600,000 square feet, nearly half of the building. By the time Crosstown officials asked the Memphis City Council for $15 million (the project’s final piece of funding) a year later, the building’s tenants included Church Health, Methodist Healthcare, Gestalt Community Schools, St. Jude Children’s Research Hospital, ALSAC, Memphis Teacher Residency, Rhodes College, and, of course, Crosstown Arts.

So, What Is It?

The Crosstown website now calls its facility a “vertical urban village,” and some variation of that term has been used to describe it from the beginning. The website also tries to invoke Crosstown’s spirit by calling it “a local heart for the cultivation of well-being, shifting focus from products to people, from commodity to quality of life,” adding that Crosstown will build “on three of Memphis’ strongest community assets — arts, education, and health care. Concourse is now a mixed-use vertical urban village with a purposeful collective of uses and partners.”

So, what’s in the village?

The building will include Crosstown Arts, Crosstown High School, and numerous health-care agencies. It’ll also be home to the Curb Market grocery store, numerous restaurants, a pharmacy, a nail shop, a FedEx Office store, apartments, and more. To anyone in commercial real estate, it looks like a classic mixed-use development, a mix of residential, commercial, and retail spaces. Many of the tenants, including Curb Market, FedEx, Farm Burger, Mama Gaia’s, and others, are already doing business in Crosstown.

But Richardson says it’s more than that and that it “can’t be managed like any other building in Memphis.” He said the building and the tenants who fill it have a deliberate tone, personality, and a spirit of inclusivity. They all “are intimately related, interconnected, and interdependent and, as a result, better because they are together.”

The building was designed for tenant interaction. Those tenants who have have chosen to locate in Crosstown did so because their individual missions will be lifted through those interactions, a Crosstown official says. All of the tenants, whether in arts, education, food, or health care, intersect at wellness, an idea that Ginger Spickler, Crosstown’s director of strategic partnerships and projects, said serves as an overall ethos for Crosstown Concourse.

“We’ve all been to office parks, where you’ve got lots of people in different buildings, none of whom interact with each other,” Spickler says on a recent tour. “So we knew even if we put people in this building, they would not necessarily interact unless we create spaces and experience for them to share together.”

So, Spickler says, the design of the building deliberately includes common spaces — a small open theater, large balconies, a massive central atrium — “where those unexpected connections and intersections can happen.”

That’s precisely why Gary Shorb, the new executive director of the Urban Child Institute, says he wanted to move his organization there, noting they’ll “be right next door to Pyramid Peak Foundation and the Poplar Foundation.”

“Geography always helps with collaboration,” Shorb says. “The closer you are, the better it will be.”

Crosstown Now

Bowties and sport coats mingled easily with hard hats and work boots during an early afternoon last month. The smells of electrical work pierced the aroma of roasting vegetables close to Curb Market. The mid-tempo thump of chilled-out EDM at Mama Gaia was often overcome by the scraping whine of power tools. It was easy to see how far the building had come — and that it still had a little way to go. Richardson says the building is mostly full: About 98 percent of the office space is leased. The apartments are around 80 percent occupied. Retail spaces were about 60 percent leased. The next step will be getting everyone moved in.

Curb Market

The celebration will be gratifying, Richardson says, but Crosstown Concourse’s true success won’t be realized Saturday.

“Success for us will be five or 10 years down the road,” he says, “when people are still here and enjoying it, and Crosstown is still the vibrant vertical village we all hoped and dreamed it would be.”

A Closer Look

Some of the tenants that will be based in Crosstown Concourse

Church Health

One of the founding tenants of Crosstown, Church Health spans 150,000 square feet over three floors in the building’s West Atrium. According to its mission, Church Health strives to provide affordable health care to Memphis’ working, uninsured population and their families. It’s served some 70,000 people since its inception in 1987.

But after the move to Crosstown, for the first time in those 30 years, all of Church Health’s services are in the same building. At its former location, 120,000 square feet of clinics, exam rooms, and offices were spread over 13 buildings on Peabody, Bellevue, and Union, says communications director for Church Health, Marvin Stockwell.

Church Health

The move to a space 30,000 square feet larger, yet still all under one roof, he says, will enable the center to “serve more people and serve them better.”

Stockwell says Church Health now has 62 medical rooms, compared to 34 in its previous locations. This increase, as well as more than twice the number of dental, eye, and counseling rooms, Stockwell says will vastly increase the amount of patients Church Health is able to treat.

In step with Crosstown’s “better together” vision of cross-organizational collaboration, Stockwell says the move has already paved the way for partnerships with other organizations, like the YMCA. Together they formed the Church Health YMCA for Church Health patients and others in the community to utilize.

He says when leadership from both organizations discussed their programming and missions, much of it overlapped, like fitness and “creative movement” classes, such as Zumba, yoga, and pilates. “The organization has grown because of partnerships now that we’re tucked into an urban village,” Stockwell says.

Church Health CEO Scott Morris says partnerships with more tenants such as Southern College of Optometry, Teach for America, Crosstown Arts, and others are also in the works. All of the partnerships, Morris says, will help Church Health be more effective at caring for its patients, adding, “We truly are better together for all of Memphis.”

Morris says the move has also made it possible for expansions into “new, vibrant areas such as culinary medicine — or food as medicine,” which he says will enrich Church Health’s overall work.

Church Health’s new teaching kitchen, located on the first floor, is more than twice the size of the former kitchen, says Stockwell. A larger, new, modern kitchen allows Church Health to offer coursework for a culinary medicine certificate from Tulane University, as well as community nutrition and cooking classes on how to prepare healthy food.

A notable part of the new kitchen is the commercial section, where Stockwell says Church Health is ramping up its own bread line, Whole Heart Bread.

He says after speaking with some local restaurant owners around the city, Church Health staff realized there was a need for locally-sourced bread in Memphis.

Stockwell says the bread line will be a way for the kitchen to do mission-type work while bringing in revenue to fund Church Health’s efforts to serve the community.

Another goal for the kitchen is to eventually partner with Memphis Tilth, which plans to hire someone to manage the kitchen full-time, and work with local food entrepreneurs who need access to commercial equipment.

Other spaces of Church Health’s operation include a chapel, community meeting room, child-care center, and “control room,” which will eventually be a broadcast workspace, producing health- and faith-related podcasts, Stockwell says.

The Parcels at Concourse

Creating something new from something old — that’s how Laura Anna Hatchett, senior community manager for LEDIC, describes the process of the realty company’s newest project: The Parcels at Concourse.

The Parcels are comprised of 265 apartments on floors seven through 10 at Crosstown. The unique interior of the building and the infrastructure of those top floors — once a Sears warehouse — shaped how the Parcels were designed, says Hatchett.

In order to fit 265 units on the top four floors of the building, 38 unit layouts were created, which are available in studio and one-, two-, and three-bedroom apartments.

Hatchett says the renovation focused on “maintaining the integrity of what the building used to be” by keeping the historical elements intact, such as the exposed brick walls and wood floors.

The Parcels

“Better together,” the idea behind Crosstown, inspired the various gathering spaces and community seating areas throughout the Parcels, including the leasing office itself, which protrudes from the seventh floor of the central atrium and will serve as a “living room” for residents, Hatchett says.

Another design element meant to foster community building, she says, are the indoor front porches that several of the units have and that residents are able to personalize.

“It’s a true live, work, play environment,” Hatchett says. “Residents can participate in numerous activities that are only an elevator ride away.”

The apartments — between 1,000 and 1,100 square feet per unit, run about $1.40 a square foot per month. Hatchett says an affordable housing grant allows 20 percent of the units to be rented at affordable market rate.

Of the 265 units, about 103 will house Memphis Teacher Residency residents, families of St. Jude patients, along with scientists working at the hospital, Church Health Scholars, Crosstown Arts residents, and Iris Orchestra Artist fellows. Residents began moving into the units in January and, as of press time, the Parcels were 82 percent occupied.

Madison Pharmacy

Though Madison Pharmacy’s old location is less than two miles down the road from its new home at Crosstown, owner Rende Bechtel says, and the biggest challenge in relocating is the logistics of moving and setting up the new space.

“It’s very scary,” Bechtel says, “But it’s a risk that could lead to a lot of opportunities.”

The privately owned pharmacy has stood on Madison near Auburndale for about 13 years, and Bechtel says they were happy there. But when she heard that Crosstown was looking for a resident pharmacy, it was an opportunity she couldn’t pass up.

“It was like fate,” she says, explaining that her parents both worked in the old Sears Tower and that that was where they first met.

Bechtel, who’s owned the pharmacy since 2012, says they have about 300 regular customers now and after the move are hoping to expand by taking advantage of the other health-care services housed in Crosstown, perhaps partnering with Church Health to serve some of its patients.

Madison Pharmacy

“Once we get there, I’m sure we’ll be right at home,” Bechtel says.

The new pharmacy will not only be larger than the old one, it will also become a convenience store, offering an expanded dollar section, essential oils, dog food, household products, makeup, and “a little bit of everything you might need.”

The hope, Bechtel says, is that “people who live and work here will come in on a regular basis and we’ll get to know them, while providing them with what they need.”

Area 51 Ice Cream

Area 51 Ice Cream, a family-owned ice cream shop out of Hernando, Mississippi, will make Crosstown its second location.

Karin Cubbage, who owns Area 51 Ice Cream with her husband, says they have been looking for a second location in Memphis for a while now, but no location seemed just right — until they saw the Crosstown space. She says they knew immediately that Crosstown was a good fit for the company and it was a project they wanted to be a part of.

Area 51 has been serving homemade ice cream along with fresh-baked goods at its location in Hernando for about three years. Cubbage says their foods are made with no artificial flavors — only fresh, locally-sourced ingredients.

“We try to do as much by hand as we can,” Cubbage says. “We even hand-make the chocolate chips that go into our mint chip ice cream.” Cubbage says she and her husband have good relationships with local farmers, like those at Cedar Health Farms, where they often buy seasonal berries.

Like its mother shop, the new location at Crosstown, will offer 12 ice cream flavors, as well as a specialty cookie and brownie each day. Since the new space is significantly smaller than the shop in Hernando, Cubbage says the ice cream will be made daily in Mississippi and transported to Crosstown.

After wrapping up the finishing touches on the new shop, including installing sidewalk-style cafe tables, Cubbage says the Crosstown location will open in late August. “We’re excited about exposing our product to another part of town that we haven’t been able to reach yet … and to be a part of the larger project in general.”

Crosstown High School

Around this time next year, 125 ninth-graders will walk through the doors of Crosstown as the inaugural class of Crosstown High School.

Ultimately, it’s expected that 500 students will comprise the student body at the public charter school. Those students, who will be chosen through a lottery, will be part of a learning experience that’s never been tried in Memphis. Instead of a teacher lecturing in front of a class, students will learn with hands-on projects based on student interest or on challenges issued by other tenants inside the Concourse.

Church Health, for example, may ask the students to help them design a wellness campaign for senior citizens in the Klondike neighborhood, says Spickler. “The students might then accomplish some of their math or English standards through creating different signage or something else by actually solving a community-based challenge.”

Students’ interests, talents, and learning pace will be taken into consideration at Crosstown High, and each student will have a personal learning plan.

Spickler says the school plans to have a diverse student body by reaching out to the community to recruit students to the school’s entrance lottery in hopes of making a school “that looks like Memphis.”

All of this will be fueled with a $2.5 million grant from XQ: The Super School Project, an initiative that challenged education officials to rethink the high school model.

For Crosstown’s model, school personnel talked with students, parents, teachers, and employers. Much of the school’s model is based on the design challenge, which Crosstown High began in November 2015.

Categories
Music Music Features

Continuum Music Festival: New Forms, New Music

This weekend, Crosstown Arts will echo with the work of several Tennessee demolition experts in search of new space. Concertgoers, be advised: wear protective headgear; there will be genre-busting. You may be impacted by the shards of shattered boundaries and preconceptions. But tearing down generic walls is the whole point of the Continuum Music Festival.

“It’s kind of different from what you think of as classical chamber music,” muses festival organizer Jenny Davis. Several ensembles will be performing, at times collaborating with local songwriters or hip hop artists, and all with a regional provenance. “They’re actually all based in Tennessee,” says Davis, director of Memphis’ own Blueshift Ensemble, who will close the festival. “Which is kind of surprising, because you think of all this stuff happening in New York, and L.A., and Chicago. But actually it’s doing really great here as well.” Many heard Blueshift’s recent collaborations with the New York-based ICEBERG composers collective, with several shows in and around the Crosstown Concourse in June. This week’s festival brings the collaboration closer to home.

Nief-Norf

“Nief-Norf are more of an experimental ensemble, based in Knoxville,” she notes. “The director, Andrew Bliss, is the percussion director of the University of Tennessee. They do a big festival every summer for two weeks, where they host a bunch of student composers and performers, with a ton of premieres and performances. This weekend at Continuum, they’ll just have cello and electric guitar. So a small little subset of the ensemble. They’re doing a Steve Reich piece, Electric Counterpoint, for electric guitar and recorded tape.”

Readers familiar with Reich’s Different Trains may recognize the title as the Pat Metheny-performed piece that finishes that album. “And there are two other pieces on the program for cello and electric guitar. Those are both world premieres, actually. One is by [California Institute of the Arts’] Nicholas Deyoe. And the other, “Sequenza for cello,” is by Luciano Berio. His sequenzas – I think there are 14 or 15 of them – explore the extreme ranges of what the instruments can do. So whenever I see those on a program, I definitely get excited.”

chatterbird

Nief-Norf’s opening set will be followed by a “secret show” by one of the more exciting new music ventures in the city. Hint: their shows last year, recorded for an LP released this January, had the whole city raving. The following night keeps things local with the Luna Nova ensemble, major supporters of new composers via their long-running Belvedere Chamber Music Festival. “They do lots of commissioning of new pieces, and they have their festival every June where they have a student composition competition, and they premiere several pieces there,” says Davis. They’ll be followed by a new kind of Nashville sound, chatterbird. “So chatterbird have been around since 2014. They are directed by a flutist, Celine Thackston, who I go way back with from Middle Tennessee State University. Their mission is to explore alternative instrumentation and stylistic diversity. I think they’re really all about inventive experiences, using flute, soprano, bassoon, piano, and percussion. AMRO is donating a really beautiful Steinway piano for the event.”

Rob Jungklas

The festival culminates with two shows on Saturday that take the genre-busting to new heights, including collaborations with local recording artists. Rob Jungklas, whose Blackbirds album arrived earlier this year, will be reinterpreting his new songs in duets with Blueshift cellist Jonathan Kirkscey. Then Blueshift will take center stage. “We’re premiering a piece by our artist in residence, Jonathan Russ, and that’s for 13 musicians – string quartet, plus winds, plus rock band, essentially,” says Davis.

The grand finale will be Blueshift’s performance with local hip hop auteur and visual artist Lawrence Matthews, a.k.a. Don Lifted. “I graduated with a painting degree [from the University of Memphis]. But I also did photography, sculpture, painting, drawing, ceramics,” says Matthews, whose musical shows often include a visual element. “I don’t do shows unless I can do a self-curated event in an alternative space. And I try to completely transform the space. So you might come into a space and see three projections, all in sync with the music. I’m just trying to curate a whole experience.” Expect the same multimedia aesthetic to permeate Saturday’s show, where Blueshift will add new musical elements to Don Lifted tracks. “I’m excited to hear what it sounds like and excited to play with it – to the point where I kinda want Jenny and Jonathan to put strings on the album that I’m working on. I’m definitely excited about how this could work.”

Blueshift Ensemble

For her part, Davis is also excited by the possibilities. “I always thought new music was like, very experimental, no melody, maybe kind of hard to listen to sometimes. But that’s just not the case, and I think there’s really something for everybody in the world of new music now.”

The Continuum Music Festival will take place at the story booth and Crosstown Art Gallery spaces, starting at 7:00 pm, Thursday, August 3rd – Saturday, August 5th.