About this Event
We wrote “Accept When” between 2022 and 2023, after a long, beautiful period
improvising together intimately in the safety of a friend’s practice space. Our friendship,
the quality of attention that colored the light of that and all our other practice spaces,
became the basis for our activity and growth as songwriters and our relationship as
improvisers. Friendship, how we relate to each other, is our nucleus: the central and
essential part of our movement; the positively charged central core of our atom.
A nucleus is supposed to be an especially essential form in eukaryotic cells. Their nuclei
are surrounded by a membrane, which in that world permits them to be said to have
“true nuclei.” Even their smallest parts, their organelles (incidentally also the name of
Caroline’s keyboard heard throughout the record), are held by that membrane. The
deepening of our musical friendship, the affordance of space we give to the possibility of
synchronicity, the reminders we write of the preciousness of our existence - all of this
we put into these songs for you, to help us all accept these miracles and metaphors, in
our lifeboats.
Alive with nurturing visions of simple sonic offerings to morph our present situation,
Caroline Davis’ main reason for playing music is to connect with others, beckoning new
vistas among curious listeners. Her musical journey began in Singapore, in a humid
climate, hearing sounds underwater that she would recreate by singing to her German
shepherd dogs, who treated her as their own. Her family moved to the United States,
Atlanta, Georgia, around age 6, where she encountered R&B and gospel music rife with
horns that called her to choose the saxophone 6 years later. Today, Caroline’s music
covers a wide range of styles, owed to this shifting environment. As a leader, she has
released seven albums, and her active projects include Portals, My Tree, and Alula. Her
work has garnered much praise from NPR, The New York Times, The Wall Street
Journal, The Wire, and a host of international publications.
Davis has shared the stage with Lee Konitz, Rajna Swaminathan, Michelle Boulé,
Angelica Sanchez, John Zorn, Bari Kim, The Femme Jam, Matt Mitchell, Terry Riley,
Miles Okazaki, and Billy Kaye. Outside of these performance relationships, she has
been involved with the following mentorship communities: IAJE’s Sisters in Jazz, the
Kennedy Center’s Betty Carter Jazz Ahead Program, and Mutual Mentorship for
Musicians. Grants and residencies supporting a grateful Caroline include: Foundation
for Contemporary Arts, Chamber Music America, New York Foundation for the Arts,
Jerome Hill, Civitella, BringAbout Residency, The Jazz Gallery, and MacDowell. Some
of her compositional practice integrates music with cognitive science, influenced by her
Ph.D in Music Cognition.
Caroline is an advocate for social justice in the realms of gender (Jazz & Gender at The
New School and This Is a Movement) and in the movement for carceral justice (Justice
for Keith Lamar).
Over the last five years or so Wendy Eisenberg has been keeping listeners guessing.
Nominally an improvising guitarist, they don’t recognize any musical limitations,
perpetually finding ways to apply a deeply exploratory practice to a wide variety of
contexts. Eisenberg plays solo guitar as well as banjo in both acoustic and electric
settings, warped post-punk songs in the trio Editrix, delicately dangerous guitar music in
the critically acclaimed Bill Orcutt Guitar Quartet, country-free jazz in the band Darlin',
with Lester St. Louis and Ryan Sawyer, febrile post-Prime Time free jazz in Strictly
Missionary, and punk-prog in a trio with Trevor Dunn and Ches Smith. As Eisenberg
told fellow guitarist Nick Millevoi in an interview for Premier Guitar in 2021, “I need to be
in a punk band at the same time as I need to be playing free improv at the same time as
I need to be playing songs. All at the same time—otherwise none of the practices will
work for me.” Their musical range isn’t a glib manifestation of eclecticism, but a genuine
artistic essence.
Eisenberg has collaborated with a disparate array of musicians from all points along the
creative music spectrum, including Bill Orcutt, Allison Miller, Shane Parish, Francisco
Mela, Carla Kihlstedt, John Zorn, and Caroline Davis. They have released music on
Tzadik, VDSQ, Ba Da Bing! Records, Garden Portal, Feeding Tube, Out of Your Head,
and Dear Life Records, and performed everywhere from intimate basements to
international festivals including Moers, Le Guess Who? and Big Ears. They also write
words about music and other things, and have published work in John Zorn's Arcana
series, The Contemporary Music Review, Talkhouse, and Sound American.
Presented by BlueStem Jazz:
https://bluestemjazz.org/
and Audio for the Arts:
https://audioforthearts.com/
This event is BYOB
Event Venue & Nearby Stays
Audio for the Arts, 7 South Blair Street, Madison, United States
USD 20.00
