BEGIN:VCALENDAR
VERSION:2.0
PRODID:icalendar-ruby
CALSCALE:GREGORIAN
BEGIN:VTIMEZONE
TZID:Europe/Dublin
BEGIN:DAYLIGHT
DTSTART:20251026T010000
TZOFFSETFROM:+0100
TZOFFSETTO:+0000
RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=10
TZNAME:GMT
END:DAYLIGHT
BEGIN:STANDARD
DTSTART:20250330T020000
TZOFFSETFROM:+0000
TZOFFSETTO:+0100
RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=3
TZNAME:IST
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTAMP:20260515T020615Z
UID:54rp6g
DTSTART;TZID=Europe/Dublin:20250619T183000
DTEND;TZID=Europe/Dublin:20250619T230000
CLASS:PUBLIC
CREATED:20250507T134357
DESCRIPTION: Doors 7:30pm/Music 8:00pm \n\n "Try not to understand\, just s
 urrender to the playing and sit back to revel in his creativity\, his skil
 l and his subtlety. Bursting with a new kind of jazz\, glorying with inven
 tion." - Jazz Views \n\n EARLY SHOW - Doors 6:30pm / Music 7pm \n\n LAT
 E SHOW - Doors 9pm / Music 9:30pm \n\n The Cooler at The Complex\, 12 Mary
 's Abbey\, Dublin 7 \n\n  \nUS pianist Craig Taborn will return to Irel
 and for an intimate show in the micro-venue at The Cooler\, a unique op
 portunity for Irish audiences to come up close and personal to this extrao
 rdinary musician. \n\n Born in Detroit in 1970\, Craig Taborn studied at t
 he University of Michigan. He first came to wider attention in the groups 
 of saxophonist James Carter. His first ECM appearance was with Roscoe Mitc
 hell’s Note Factory on the album Nine To Get Ready (recorded 1997). \n\n
  Over the last decade Taborn has refined and developed his approach\, atta
 ining new high ground with his 2020 release Shadow Plays. For Craig the re
 cording is “part of the same continuum as Avenging Angel. Where that was
  a studio recording\, this one is live\, but that process of spontaneous c
 omposition goes onward.” The new album is a stunning live recital from t
 he Mozart-Saal of the Wiener Konzerthaus\, where the programme was headlin
 ed Avenging Angel II. In this fully improvised concert\, Craig explores so
 unds and silences\, swirling colours\, densities and forms\, creating new 
 music with both poetic imagination and an iron grip on his material. His c
 ontrol of his craft as he unerringly creates narratives and structures fro
 m the hint of a revealed pattern\, following where intuition and experienc
 e lead him\, is extraordinary. \n\n “When you improvise\,” Taborn told
  writer Adam Shatz\, in a New York Times interview\, “you’re observing
  and creating at the same time. To make the next move\, you have to get re
 ally close to what’s going on.” \n\n “Free improvisation” can mean
  many things. For Taborn\, in this context\, this is not a matter of autom
 atic writing or stream-of-consciousness self-expression but of keeping in 
 focus both the larger frame of the concert and the concise statements shap
 ed from the moment-to-moment detail of the music. “A lot of my interests
  revolve around trying to extend the boundaries you can create in…” Ta
 born has noted. “Rather than simply free-flowing as I travel from Point 
 A to Point B\, I am really trying to construct and to organize the materia
 l as it emerges\, in real time. And what is created in this way feels diff
 erent to music using pre-composed elements.” \n\n Taborn is a great impr
 oviser in any context\, and highly regarded for his capacity to get to the
  heart of the music\, whatever the setting. In the solo work connections t
 o ‘jazz’ are not always self-evident\, but in the flux of the piece re
 trospectively called “Conspiracy of Things”\, allusions to the history
  of the music from stride piano onwards seems to flash past at lightning s
 peed. In all pieces\, ideas are explored\, at multiple levels. Emotions to
 o – tenderness and fierceness co-exist in pieces thoughtfully titled “
 Discordia Concors” and “Concordia Discors\,” concepts that reflect t
 he notion of unity through diversity. “I name the pieces\,” Taborn sai
 d in a recent interview with Bomb magazine\, “after they are finished an
 d in consideration of their programmatic position – in a way the titling
  is the final stage of composition. And I intend the titles as invitations
  to extend the musical experience into other areas.” The inclusiveness o
 f his work – subtly informed by music and art of many traditions – inv
 ites new associations and open responses. \n
LAST-MODIFIED:20250618T130314
LOCATION:The Cooler at The Complex\, Mary's Abbey\, Dublin 7.
ORGANIZER:mailto:admin@improvisedmusic.ie
SUMMARY:Craig Taborn at The Cooler
URL;VALUE=URI:https://ti.to/improvised-music-company/craig-taborn-cooler-ju
 n25
URL;VALUE=URI:https://ti.to/improvised-music-company/craig-taborn-cooler-ju
 n25
END:VEVENT
END:VCALENDAR