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CineCycle's Sounds & Silents presents an evening of Man Ray short films all on 16mm with a live soundtrack by Red Lantern.
Sunday, July 13, 2014, 8pm, $10
CineCycle, behind 129 Spadina Ave., Toronto
CineCycle is pleased to present the latest in our Sounds & Silents series of classic film screenings with live soundtracks performed by a rotating roster of amazing musicians.
Le Retour à la Raison (1923)
L’Etoile de Mer (1928)
Les Mystères du Château de Dé (1929)
all directed by Man Ray
Entr'acte (1924) directed by René Clair, featuring Man Ray
"The most random and therefore probably the most 'Dada' of Dada film (the title is in itself an ironic joke), it was put together overnight by Man Ray when the poet Tristan Tzara announced, as much for a joke as anything else, a showing of a Man Ray film for the last of the great Dada soirées, Coeur à Barbe. American painter and photographer Ray, who went to Paris in 1921, had already made a short segment of film experiments together with Marcel Duchamp. He had also been making photographs without a camera by the direct process of placing objects on unexposed negatives. These photographs he called 'Rayographs.' Retour à la Raison was made by combining the footage he already had with additional material he produced that night using his Rayograph technique adapted to motion picture film. Ray had no experience with film editing and no idea how the result would appear on screen, but he considered the element of chance to be part of the artistic process."
—Museum of Modern Art film notes
more info about Man Ray:
Red Lantern is:
Arthur Bull (guitar)
William Davison (electronics)
David Lee (bass)
Tena Palmer (voice)
Bob Vespaziani (percussion)
Arthur Bull (guitar) has been active sporadically on the Canadian free improvisation scene. In Toronto in the '70s and '80s, he played with the CCMC, Michael Snow, the Bill Smith Ensemble, the Paul Cram Ensemble, David Prentice, John Oswald, and Paul Dutton. He occasionally accompanied the spoken word/sound poetry quartet the Four Horsemen (Dutton, Rafael Barreto-Rivera, Steve McCaffery, and BP Nichol) and shared the stage with such luminaries as Derek Bailey and Roscoe Mitchell. In 1990 he moved to Sandy Cove, Nova Scotia and focused on his writing, publishing "Hawthorn" and "Key to the Highway." He has been playing with guitarist Daniel Heïkalo regularly since 1996. The release of the duo's CD Dérapages à Cordes on the label Ambiances Magnétiques in 2000 marked Bull's "comeback" to public music, with a solo disc, Guitar Solo, following in 2001. In May of that year, the group appeared at the Festival International de Musique Actuelle de Victoriaville and In 2002 they performed at the Guelph Jazz Festival and Guitarévolution (Montréal). http://www.allmusic.com/
William Davison (electronics) is a multi-disciplinary artist and electroacoustic improvisor who has been active in Toronto's underground, experimental, noise, and improvised music communities for 25 years. He mainly uses homemade instruments, amplified objects and minimal electronic effects to create his surprisingly varied and surreal soundscapes.
David Lee (bass) has performed, toured and recorded as a double bassist and cellist, worked for the jazz magazine Coda, and run the small press Nightwood Editions. A long collaboration with pianist Paul Bley resulted in the book Stopping Time: Paul Bley and the Transformation of Jazz (VÃ©hicule Press 1999), and after David completed an MA in Music Criticism at McMaster University, The Mercury Press published a revised version of his thesis, The Battle of the Five Spot: Ornette Coleman and the New York Jazz Field (soon to be issued in a revised new edition by Wolsak & Wynn). David's time on the west coast is reflected in his latest book, the novel Commander Zero (Tightrope Books 2012) and his award-winning Chainsaws: a History (Harbour Publishing 2006). Currently pursuing a PhD in English & Theatre Studies at the University of Guelph, David will base his dissertation on his own first-hand knowledge of improvised music in Toronto in the 1970s and 1980s.
Tena Palmer (voice) established herself at the forefront of jazz vocal improvisation in North America during the 5 years she fronted the Celtic/free bop 4-tet, Chelsea Bridge. After living in Europe from ’96 – ’03 (Iceland: 6+ yrs., Holland, Prague) the award-winning singer and composer now resides in Toronto. Her voice and writing are featured on more than nine critically acclaimed CDs. Called "the most creative vocalist in Canadian free improvisation" by Stuart Broomer in Toronto Life Magazine, Tena tours and records in many styles: experimental, Brazilian, jazz, roots, minimalist electronica, Celtic, spoken word and musique concrète. Her compositions have been commissioned for European and N. American theatre, film, TV and live performance ensembles ranging from 3 to 19 players. Aside from creative work with diverse artists the world over Palmer is a frequent collaborator with leading Toronto musicians, such as double bassist Rob Clutton, and pianist Marilyn Lerner. “Palmer soars where angels fear to sing". – Mark Miller - The Toronto Globe and Mail. http://www.tenapalmer.net/
Bob Vespaziani (percussion) is a freelance drummer/percussionist and is very active in both the blues and improvisational music scenes in Canada. He was a Maple Blues Nominee in the "Best Drums" category in 2002 and 2007. He has performed with Rusty, CCMC, Snooky Pryor, Little Mack Simmons, Zora Young, Phil Guy, A.C. Reed, Mel Brown, Willie "Big Eyes" Smith, Kenny "Blues Boss" Wayne, Harmonica Shaw, and Curley Bridges, His latest projects include Snake Oil Johnson (a deltadelic blues/roots band) and Toki Oto (a "tribal/worldbeat" duo with didgeridoo player Satoshi Ridd Saito). Other projects include an improvisational guitar and percussion duo with Arthur Bull, and a blues duo with Juno Award winner Julian Fauth. Bob also improvises with the electroacoustic collective Build To Suit. 2011 saw the release of Bob's first solo CD "The Concussionist" on his own SMS (Stage Mom's Suck!!!) label. http://
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Hope to see you there!