The critical buzz around Wilco’s latest, self-titled album has centered on the notion of identity. Some have heralded Wilco (the album) as a reclamation of the insouciance of the band’s early albums, while others—particularly City Paper’s own Aaron Leitko—have described it as a tour of the band’s sonic arc over the last decade. But aside the reflexivism of its latest studio release, Wilco at Wolf Trap on Wednesday reiterated what might be the band’s most enduring legacy: its ability to put on one hell of a live show.

Read More “Wilco (The Lovefest) @ Wolf Trap” »

While the highlight of Sunday’s Bang on a Can Marathon at the University of Maryland’s Clarice Smith Performing Arts Center came early, the rest of the program offered plenty to enjoy as well, even if the culminating performance was somewhat dubious. Just after the Bang on a Can All-Stars completed their innovative arrangement of Brian Eno’s Music For Airports, a rather more scattershot program called kicked off in CSPAC’s Gildenhorn Recital Hall, in which members of the Bay Players Experimental Music Collective and the University of Maryland Percussion Ensemble played a series of short pieces for small ensembles. Finally, a 6pm event featuring Glenn Kotche and Terry Riley closed things out.

My impressions of the day, after the jump.

Read More “Bang on a Can Marathon @ Clarice Smith Performing Arts Center” »

For the past few years, the annual Bang on a Can Marathon in New York City has had my mouth watering, juxtaposing performances of fascinating and often under-performed avant-garde classical music with shows by cutting-edge popular music performers (and generally blurring the line between these two categories). Last year’s festival, for instance, featured compositions by Harrison Birtwistle and Terry Riley alongside performances by Marnie Stern and Dan Deacon.

This Sunday, the D.C. area is in for a treat as a scaled-down version of the festival occupies the University of Maryland’s Clarice Smith Performing Arts Center for an afternoon and evening (from 2pm until about 9pm). A free performance of Brian Eno’s famed Music For Airports is among the attractions, along with performances of compositions by Wilco drummer Glenn Kotche (some of which D.C. concertgoers may have seen when Kotche performed a solo set at the Black Cat back in 2006). A lengthy Terry Riley piece, with Riley himself on vocals and piano, closes out the event.

The first part of the event, from 2pm-6pm, is free; the concert beginning at 6pm is $35. Check out the full schedule of performances here.

Also of note: on Saturday evening, the D.C. Society of Art Rockers hosts renowned electric bassist Michael Manring for a solo show at Jammin’ Java. Manring was long the in-house bassist for new-age label Windham Hill, but don’t let that fool you, as he’s also recorded with jazz luminaries like Henry Kaiser and Wadada Leo Smith and even heavy/technical metal musicians like Alex Skolnick (Testament) and Ron Jarzombek (Watchtower). This show celebrates the release of Manring’s latest solo album, Soliloquy, and starts at 7pm.