Tag Archives: Author Sharon Rowe

World Poetry Celebrates Quinsin Nachoff !






Ariadne’s Notes:  On Jan, 17, at 1:30 PM PST, The World Poetry Café was delighted to have our second guest,the talented Quinsin Nachoff calling in from New York to talk about his new CD Path of Totality out February 8, 2019 via Whirlwind Recordings. The collaboration with six filmmakers is outstanding. I loved the connection with science and space as well as Quinson’s passion for his work and attention to detail. I also want to thank our tech Victor Shartzman and special volunteer Sharon Rowe for another wonderful show. Great thanks to Braitwaite and Katz for sending such great musicians and for providing source material.










About Quinsin Nachoff ( https://www.youtube.com/watch?v=gfVIHDsQYq8)
NYC-based saxophonist and composer Quinsin Nachoff has earned a reputation for making “pure, bracing, thought-provoking music” that is “cliché-and convention-free” (Ottawa Citizen). Since moving from his native Toronto to New York City, Nachoff has made a habit of freely crossing borders: his music moves fluidly between the jazz and classical worlds and manages to be soul-stirring at the same time that it is intricately cerebral. His passions reach into both the arts and the sciences, with concepts from physics or astronomy sparking inspiration for exhilarating compositions. As a saxophonist, Nachoff’s playing has been described as “a revelation… [p]arsing shimmers of Sonny Rollins, Wayne Shorter and Mark Turner” (DownBeat). He was a semifinalist in the renowned Thelonious Monk Jazz Saxophone Competition and has been nominated for numerous Canadian National Jazz Awards. His diverse ensembles include Flux, the Ethereal Trio, Horizons Ensemble and FoMo quartet as well as the Pyramid Project.

Quinsin Nachoff Internationally acclaimed composer and saxophonist Quinsin Nachoff has commissioned six cutting-edge filmmakers to create original work in response to his new recording Path of Totality out February 8, 2019 via Whirlwind Recordings. The recording features Nachoff’s remarkable ensemble Flux which thrives in the space between genres, styles and inspirations.

Nachoff asked each filmmaker to create an artistic response to miniature versions of individual tracks from the CD.

“I wanted to do something different than a music video and I’ve always loved animation and film,” says Nachoff. “The compositions on this recording are very expansive and cinematic in scope; they lend themselves well to a creative visual. I provided each filmmaker the background inspirations for their piece and gave them a lot of freedom in their approach. It’s been fascinating to see how each of them interprets the music – both the differences and similarities!”

Bounce by Lee Hutzulak was released on January 14. The next films will be:

• Monday, February 4 – Path of Totality by Anne Beal, is based on the disc’s title track inspired by the 2017 solar eclipse.

Anne Beal is an animation artist, filmmaker, and installation designer based in Brooklyn. Her fully hand-painted film Balance and Swing premiered at the renowned Annecy International Animation Festival (France) in 2013. Her work has been featured at dozens of international exhibitions including Brazil’s Festival of Electronic Language and London International Animation Festival. A musician herself, Beal loves to explore relationships among sound and animated imagery. She is developing a watercolor animation and jazz orchestra collaboration with composer Christopher Zuar called Tonal Conversations. The first iteration of the piece premiered in October 2018 at 150 Media Stream, a sculptural video art installation in Chicago. Beal has been awarded artist residencies at the MacDowell Colony and the Corporation of Yaddo in support of her current animated short film This Is Not For You which examines the default male voice in mid-century nonfiction. www.annebealanimation.com.

• Monday, March 4 – Splatter by Udo Prinsen.

Udo Prinsen started his career as an animation designer. Having learned many tricks of the trade at Rocketship Animation in Vancouver in the late 90s, he started working as a creator of identity for television and film. In 2000 Prinsen moved to England for the Bristol Animation Course, which was set up by Aardman Animations, the creators of Wallace & Gromit and Chicken Run. He spent a year in England working for Phew TV/BBC Eduation and other production companies and always worked on independent projects on the side. His short film Audition was created with the musical help of Eric Vloeimans and Martin Fondse. Into Spring was made in collaboration with Han Bennink and the short film LOOK!, was inspired by Dutch Sign Language. More recently Udo has been exploring different forms of visual storytelling. Examples are the audio book Last Words in collaboration with Amsterdam Forest; Shapes of Time, an exhibit, art book and musical show based on long exposure photographs created during a Dutch scientific polar expedition to Svalbard; and Wood, a cultural exchange in wood design celebrating the friendship between the cities of Utrecht and Portland, Oregon. www.udoprinsen.com.

• Monday, April 1 – March Macabre by Željka Blakšić.

Željka Blakšić AKA Gita Blak is an interdisciplinary artist who currently lives and works in New York City. She studied at the Academy of Fine Arts in Zagreb and the Jan Mateiki Academy of Fine Arts in Krakow. In 2010 she received her Master of Fine Arts with Distinction from the School of Visual Arts in New York City. Recent exhibitions and performances include D’EST at Filmwerkstatt Düsseldorf; a group exhibition Performing Words, Uttering Performance curated by TOK and Inga Lāce; Trauma & Revival project, group presentations at Bunkier Sztuki Gallery in Krakow; The Witnessing Event curated by Rashmi Viswanathan at Los Sures Museum in New York; and exhibitions and performances at Framer Framed in Amsterdam, Museum of Modern Art in New York, Recess in SoHo, Herzlyia Museum, Gallery Augusta in Helskini, among others. She was a recipient of the Residency Unlimited & National Endowment for the Arts Award 2017, Session Residency and Via Art Fund Grant 2016, 2014/15 AIR Gallery Fellowship in New York, the District Kunst und Kulturförderung Studio Award in Berlin, and the Paula Rhodes Memorial Award in New York City. www.gitablak.com.

• Monday, May 6 – JiYe Kim’s video for the John Cage-inspired Toy Piano Meditation.

JiYe Kim, born in South Korea in 1984, is a Brooklyn-based artist and film editor. She has worked on a number of films and art projects, ranging from narrative to documentary to experimental. Her most recent editorial credits include High Maintenance (HBO), Share (A24), Halston (Sundance Film Festival), Her Smell (Toronto Film Festival), AlphaGo (Tribeca Film Festival), and others. She has worked with artists Anita Thacher, Judith Barry, Karen Azoulay, and Barbara Hammer. In her artwork, she often works in a variety of mediums—video photo, prints, and installation, building a world using cinematic language. She holds an MFA from the School of Visual Arts, and a BFA from the Korean National University of Arts. www.foundincafeteria.com.

• Monday, June 3 – Trent Freeman’s film for the recording’s closing track Orbital Resonances, which is based on the intersecting pathways of orbiting bodies in space.

Trent Freeman is a Juno Award-winning musician whose unique approach to film has led him to create music videos for Grammy nominees and Juno winners. His inventive eye for the abstract and his celebrated musical mind lead to a seamless connection between music and visuals as he turns kinetic sculptures into an immaculately captivating reflection of sound. www.trentfreeman.com.

Previously released:
• Bounce by Lee Hutzulak. The video, which was released on January 14, reflects the piece’s percussive outbursts and thrilling call-and-response built on the mathematical model of a bouncing ball. The film can be viewed at https://youtu.be/EfBNkSxkZx4.

Lee Hutzulak’s interest in making video started in the early 90s at art college, shooting 8mm film and Video 8 for his recording project/band Dixie’s Death Pool. A couple of decades later, with the advent of affordable, powerful personal computers, tiny digital video cameras and YouTube as a platform, a return to the medium felt relevant. Since 2008 he has put up hundreds of videos on YouTube. While most are simple documents of live music performance, some incorporate additional footage shot by Hutzulak and special fx using both software and real world, performance. Some incorporate additional footage shot by Lee and special fx using both software and real world, physical techniques. Some pieces, like the video for “Bounce” are companion works of art using composition, movement, light, color and texture to echo elements in the music. www.leeutzulak.com.

About Flux and Path of Totality
Neither Toronto nor New York, the two cities that Nachoff calls home, offered prime viewing conditions as the moon eclipsed the sun in August of 2017. But Nachoff, who has long drawn inspiration from the scientific wonders of the universe, couldn’t help but be moved by this rare astronomical phenomenon – and to find a degree of solace in it. In the Path of Totality could be found hope that this, too – whatever “this” might be in the moment, whether political, personal or environmental – will indeed pass. At its foundation Flux is a quartet, though at times on Path of Totality a quintet and sometimes more, employing a vast array of instruments and a vivid palette of musical colors to create something that is consistently surprising as its shape morphs from moment to moment over the course of these six epic-length pieces.

In saxophonist David Binney, Nachoff has a frontline partner with a keen-edged tone and a refined ear for texture, having integrated electronics into his own work as an artist and a producer that expand and mutate his sonic environments. Matt Mitchell is a rigorous boundary pusher, a pianist and composer who astutely avoids obvious choices in favor of pressing fervidly into the unexplored. Kenny Wollesen couples a similarly adventurous instinct with a passion for the playful, as reflected not only in the eccentric arsenal of invented instruments known as “Wollesonics” but in the buoyant swing he maintains even in his most complex and abstract rhythmic excursions. The new addition this time out is Nate Wood, who alternates and at times shares the drum chair with Wollesen, lending the band an urgency and avant-rock propulsion familiar from his work with Kneebody. While that combination of voices would offer a wealth of possibility for any composer, Nachoff was handed an even larger palette by Canada’s National Music Centre, a non-profit organization dedicated to promoting Canadian music through exhibitions, performances and educational programs. As one of the NMC’s first Artists-in-Residence, Nachoff was granted access to the Centre’s extensive keyboard collection, an enormous resource of both acoustic and electronic instruments. Raised in a household where electronic music was not only heard but composed, Nachoff has long been spurred to follow his own, more acoustic path, but the NMC’s collection proved too tempting to resist. Both Mitchell and producer David Travers-Smith have a field day with the array of instruments.

World Poetry Celebrates Randall Stephen Hall !

Ariadne’s Notes: Another wonderful interview with the talented Randall Stephen Hall  from Ireland on the World Poetry Café, CFRO 100.5 FM, Jan, 17 1-1:30 PM, PST.   It is wonderful to hear his stories, songs and philosophy which helps the world become a better place. Be sure to check out his creativity on his site at   and YouTube at: www.randallstephenhall.com

He is also available for shows, tours and events.


Randall Stephen Hall : A  biography in his own words:

“I grew up in North Belfast at the height of the Troubles. Born 1957.

I grew up beyond many people’s context there and neither of my parents were from Belfast.
These two experiences collided and reverberated with more for all my years since then, shaping much of my art and outlook.

I met my wife Ann at The College of Art and Design in Belfast. She did Fine Art and Teaching while I did a degree in Graphic Design. At the time I was playing in a few local groups and later writing songs with two friends. Here’s an example from 1983. “The Bread Song”. https://soundcloud.com/randall-stephen-hall/the-bread-song-circa-1980

I left college in 1980 and got a job in a small add agency. That winter John Lennon was shot.
I remember the news on the radio. It seemed to link with shift, change and conflict in northern Ireland.

Ann and I got married in 1983. We had two girls in 1985 and 1987. We now have two grandchildren of six and two. Both girls.

I worked in local advertising for six years until 1988 when I became a freelance illustrator. My work, for a time came from Belfast, Dublin and Glasgow. This carried on until 1998 then my work began to change again. www.earthnativeart.co.uk

In 1996 I self published a book called THE GIANT’S CAUSEWAY. https://www.youtube.com/watch?v=RnN5HQe1Fvk The advertising work began to diminish and I began to receive invites to visit schools to tell this story. A steep learning curve ensued from then until now. (I’ll keep this brief).

During this time I began to create new stories, illustrated for projection and began to shape way of doing story telling that involved, hand drum, voice, interactive singing, song, poetry and a main story, lasting about an hour.

All this has evolved slowly in a very natural way over a period of about 20 years.

Around 2009 I began to write and record songs a bit more seriously again. Luckily a local DJ
called Gerry Anderson (now sadly passed) found some of my funnier songs interesting and began to play them on the radio. So, in a period of about 9 months I created my first CD of poems and songs, using local themes, of identity, peace, conflict etc but doing it in an accessible way, with the addition of humour.

Here’s one of the interviews from 2010/2011. https://soundcloud.com/randall-stephen-hall/gerry-anderso-interview-24-9

This development threw me back into playing live again after a long
hiatus of some years . . .”

World Poetry Celebrates The Great Michael Mirolla!


Ariadne’s Notes: I am back on the World Poetry Café Radio Show, CFRO 100.5 FM  after a three weeks break. Thanks to Victor Swartzman and Diego Bastinutti for keeping the show going. We have been going through a lot of challenges with our electrical problems and are now in a hotel for an extended time. I am doing my best to keep up with all the wonderful e-mails and offers of help and prayers. Please be patient with me. I had hope to launch WP Media with correspondents from all over the world but will need to postpone this.

Last week, we had the honour of having an amazing  guest call in and to help us celebrate our 21st year of being on the air. Michael read his poems talked about his life and even answered a question from a 14 year old Nigerian boy who wanted his advise about writing. The answer was greatly appreciated by the young man who sends his thanks.  Also, we want to welcome Michael  Mirolla as the new writer in residence at the famed Joy  Kogawa house starting in November and hope we can do a welcome program for him.

*Photo: Happy New Year from Afghan Peace Poet Mahmood Jan in Kabul.







Michael Mirolla is the author of a clutch of novels, poetry collections, short story collections, and plays. He is a three-time winner of the Bressani Literary Prize. His novel Berlin was a finalist for the Indie and National Book Awards. The short story, “A Theory of Discontinuous Existence,” was selected for The Journey Prize Anthology; and “The Sand Flea” was a Pushcart Prize nominee. Born in Italy, raised in Montreal, Michael now lives in Oakville, Ontario. For more information: http://www.michaelmirolla.com. For an old WP Link:http://worldpoetry.ca/?p=11150

To a poet struggling to recover her words

Please note: this is not a metaphor.

In the spongy grey room, walls reticulated,
bony chair bolted to upheaving floor,
spotlight at 10 flickers per minute,
she sits. There’s a hole in the side
of her head. There’s a hole where they
extracted the over-eager building blocks,
the out-of-control tidbits of DNA.
The incisions were precise, one must assume.
But it didn’t prevent the words … her words …
from escaping into the sterile air.

Now, a saintly smile framing her face,
she sits in the bony chair inside
the spongy grey room with reticulated walls
and reaches out to recapture
the stray letters that may or may not
have survived without her tender care.

I sit across from her, spoon-feeding
alphabet strands into a hungry mouth
fearful that the words that have kept her whole
that have defined her
that connect her to herself
that have built this grey room
will be unable to make the return journey.

Please note: This has not been a metaphor. 

Also, he read the following  poem which is a favorite since I remember siting in a cave listening to my dad read Plato (The Cave)  to us.

In The Cave of Lost Language

When rifling the pockets that hold
the day in thrall there is always
some thing that slips through the fingers.
No matter how tightly we grip
the fabric. Or fingernail dig
into its deepest corners. Is it
possible the contents change each time
we reach in? Or does the pocket
itself become altered by the hand
as it latches onto a fistful
of what was previously there
but is no more?

And then, one day
without warning, from hand to mouth,
the familiar phrases themselves
decide to come and go as they please,
shape shifting before they disappear.
And you’re prone to ask: What was … what is …
that word once so strong, so anchored
now fluttering out the window
like a stale balloon’s flaccid breath?

At first, you tell yourself: Worry
not. So what if within your grasp
“brother” of a sudden becomes
anaia and “crow” re-turns
to belex? As long as one word
simply morphs into another.
As long as reaching down dislodges
those helpful phrases you can use
as place-holders for who you might be:
wolf/hirpus tongue/osvache. As long
as those scratches, familiar or not,
re-appear on the wall at day’s end.

There is that comfort of finding
something … anything, is there not?
Until your hand comes up empty,
an open palm holding a blank space.
And your heart stutters and you grope
about in your Kline bottle pocket
in search of one word … one fragment
that you can inscribe … just one clue
that’ll keep you from vanishing.

Michael Mirolla (C) All rights reserved by the author.