李剑鸿

水陆观音特别节目之鸡肋大转胃

艺人：

1：麻沸散
2：核桃室
3：颜峻+李铁桥+李剑鸿
时间：2009年3月17日晚八点
地点：北京两个好朋友酒吧（东风桥西300米路北，汽车电影院内，）电话：64368998
票价：30 

演出介绍：

1：此次各组表演单元演出所用到“鸡肋”（除必要演出器械之外）将全部现场出售，或交换。
2：有趣的，艺术的，贸易的，自由的，环保的盛会。演出现场即自由的鸡肋淘宝集市。 欢迎观众自带各类鸡肋，上至核武器神七，下至安全套打火机，均可现场交换或出售。
3：预计鸡肋现场艺人表演单元会出现的鸡肋有：书籍、碟片、衣服、效果器和各类乐器器乐（包括自制乐器）等。
　　 　　　　 　　
关于鸡肋：
鸡肋指生活中闲置的，不太用得到的物品，然后通过低价出售和交换的方式转给其他需要的朋友再利用。比如你不听的唱片，不看的书，不穿的衣服等等。
　　
更多关于鸡肋的信息请看李剑鸿2月所推广的鸡肋活动：
http://lijianhong.blogcn.com/diary,23249030.shtml
http://lijianhong.blogcn.com/diary,23279926.shtml
http://lijianhong.blogcn.com/diary,23379808.shtml

演出人员和安排：

时间：2009年3月6日 
地点：两个好朋友酒吧（燕莎桥往东500米路北,亮马桥路21号汽车电影院内） 
票价：40元，预售及学生票30元 

冯昊个人SOLO

李剑鸿个人SOLO

Eyal Maoz个人SOLO

三把吉他+鼓即兴合作

演出阵容： 
Eyal Maoz【Guitar】 
李铁桥【Sax】 
李剑鸿【Guitar】 
Bruce Gremo【埙.尺八.长笛.CILIA】 

演出时间：2009.03.05（周四）21：00 
演出地点：D22酒吧 （北京市海淀区成府路242号，蓝旗营车站路南 
演出门票：50元（现场）40元（邮件预订）30元（预售票.学生票） 
演出风格： 先锋爵士 实验摇滚 自由即兴  

他最近的一张唱片是与风琴手John Medeski 等人合作录制的。 
他的乐团曾经参加过的演出有： 
2006年蒙特利尔爵士音乐节、纽约2007年季爵士节、Verizon爵士音乐节、红海国际爵士音乐节等。 

Eyal Maoz

李剑鸿

李剑鸿+Bruce Gremo+李铁桥

集体即兴

效果器~~~

Eyal Maoz, a Tzadik Records artist, is a uniquely original rock-jazz-avant-garde guitarist composer. He currently leads numerous original music ensembles such as Edom, Dimyon, Crazy Slavic Band, co-lead the Maoz-Sirkis Duet, and cooperates with top NYC composers and musicians. He is a Tzadik Records artist and a guest member of John Zorn’s Cobra. His last CD features John Medeski on organ and his ensembles performed at the 2006 Montreal Jazz Festival, 2007 NYC Winter JazzFest, Verizon Jazz Festival, Red Sea Internationla Jazz Festival and many more. 
“Put your eyes and ears on this guy”- John Zorn 
“Not every day can we hear non standard jazz in such high standards.” – Ha’aretz, Israel

这是美国实验厂牌Utech开展的一个创作系列。在亚洲找十组艺术家，用文字来创作音乐。我和VAVABOND选择了罗盘上的文字和符号来创作，会作这个系列的首张于09年春季发行。

详见Utech厂牌的新闻页：http://www.utechrecords.com/

Shokyo Ontei Series
Utech Records has at last arrived at a point to disclose information regarding the third, and likely last, entry in the label’s fine art series. A number of radical musicians from East Asia, primarily from China and Japan, have been invited to reconsider the multiplicity of possible connections between text and music. The title of the series – Shokyo Ontei – a neologism that means literally word echoes/sound writing, emphasizes this overlap between the process of creation of meaning through sound and through the written language.
As means to understand, order and engage with the world, text and music have much in common. Most importantly, both allow for the creation and projection of personal, complex, emotionally and intellectually affective structures of meaning. East Asian texts and orthographic practices present a particularly rich topos for the investigation of musical possibilities. Chinese characters (which were used historically throughout East Asia and provided a shared means of communications between the region’s disparate cultures), in particular, provide a hugely flexible conjunction of sound, meaning and visuality. Ancient literary, religious and scientific texts provide numerous challenges to our ideas of narrative logic and the proper relationship between reality and its modes of representation. The employment of written and spoken texts in magical practices, from the oracle bones of second millennium BCE China to the kotodama word magic of early Japan, presents another fascinating area of investigation.
In the form of calligraphy, East Asian orthography has as more in common with art or ascetic practice than it does with simple notation of meaning. Calligraphy can easily be read as performance – a real-time improvisation between ink, paper and the creative freedom and expressive energy of the brush wielder. Examples are legion: the 2nd century Chinese calligrapher Ts-ai Yung, for example, talks of writing almost as a spiritual discipline, “at first sit in silent thought, then seize the moment as inspiration arises. The mouth should be stilled and the mind free of thought. Deep and mysterious, spiritual and beautiful, nothing could be more perfect”. Calligraphy was used in Zen monasteries as a tool to attain a deeper, intuitive awareness of reality. The hero of the 11th century Japanese novel, The Tale of Genji, writes in a hand so beautiful that women fall in love with him, sight unseen.
A package is being designed to utilize hand-rendered text from each of the artists and essays from Alan Cummings. The first release from VagusNerve (Li Jianhong and VAVABOND) will be available spring 2009 followed by contributions from Sachiko, Atsuhiro Ito, Hasegawa-Shizuo, Aural Fit and Masayoshi Urabe among others.

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发行连接贴：

http://www.douban.com/group/topic/5049416/

rayfile下载
　　
http://www.rayfile.com/zh-cn/files/6aeade66-dbb4-11dd-907a-0019d11a795f/
　　
http://www.rayfile.com/zh-cn/files/7e4a0575-dbb5-11dd-a6aa-0019d11a795f/