One night only! 4th Ward Afro-Klezmer Orchestra, Bill Brovold and Frank Pahl Duo, Duet for Theremin and Lap Steel. There’s some bang for your buck!
The 4th Ward Afro-Klezmer Orchestra is a klezmer-funk-rock-jazz ensemble that performs original compositions and arrangements
combining West African rhythms with Eastern European klezmer melodies.
The 4WAKO boasts a roster of extraordinary veteran Atlanta talent.
Bill Brovold is a painter, composer and artist-at-large. His father was a drill sergeant in the military and his mother studied classical piano. In the early 1980s, he joined a number of New York avant-garde no wave groups like Rhys Chatham Ensemble, East Village Orchestra, Fast Forward and the Zen Vikings. He is also the creator of the bands Larval and Strange Farm. He’s spent a lot of time performing and recording in New York then Detroit and now New York again. Brovold has a long resume overflowing with interesting projects and obscure yet important names in the worlds of art and avant-garde music.In 2016 and 2017, Brovold was commissioned by Mass MoCA to rebuild the massive collection of home made instruments by Gunnar Schonbeck and a bone conducting table for Laurie Anderson. April 1st 2017 Brovold and Jamie Saft released a duet 2 LP/CD called “Serenity Knolls” on RareNoise records of American Music based on old country, via psychedelic, folk and the occasional/accidental Indian raga. He teaches children in the public schools in Brooklyn, art and improvisational music.
A true original, composer/musician/sound artist Frank Pahl spent his musical career in the underground, amassing a small cult following. Whether with his groups Only a Mother and the Scavenger Quartet or playing solo, he charms his public with lovely avant-garde melodies played on an impressive array of neglected acoustic instruments and homemade automatons. When he decides to write lyrics, they take the form of bittersweet stories. His music allies a naïve simplicity and a tasteful touch of amateurism (the result of using instruments that are difficult to keep in tune). His aesthetics belong to an unsuspected territory between Eugene Chadbourne and Pascal Comelade.
The name of this Atlanta duo implies a proper classical recital, a rigid formality. But Scott Burland (theremin) and Frank Schultz (lap steel) don’t do scripted, improvising not so much distinct sounds as evolving eddies of sound, vapors of tones that develop and transform gracefully. Hypnotic pulses and dreamy drones weave together to form a kaleidoscope of sounds and moods, ambient clouds and swooning collages that are as much about texture as they are timbre, like a long-lost soundtrack to a deep-sea documentary.