HIP Fest 2015

Hosting Improvising Performers Festival 2015 (HIP Fest) – September 22 & 23, 2015

Tuesday, September 22, 2015: The Blue Nile, 532 Frenchmen St. New Orleans, LA 70116 (504) 948-2583 – 9pm, $10

Wednesday, September 23, 2015: Freeport-McMoRan Theater at the CAC, Contemporary Art Center, 900 Camp St, New Orleans, LA 70130 (504) 528-3805 – 8pm, $25 ($20 students/seniors/CACNO members)

For tickets and ticket information, visit www.cacno.org, or call 504.528.3800or visit CACNO Box Office, day of show, one hour before curtain.

Produced by New Orleans International Sound Exchange as part of HIP Fest 2015 with support from the Contemporary Arts Center’s Performance Support Program

Additional support provided by Fidelity Bank, New Orleans Jazz and Heritage Foundation Community Partner Grants, and WWOZ-FM.

Tuesday, September 22- Trio & Duo Night – The Blue Nile

Set 1:

FABRIZIO PUGLISI (piano) with Mark McGrain (trombone)

TYSHAWN SOREY (drums) with Oscar Rossignoli (piano)

STEVE LEHMAN (sax) with Nobu Ozaki (doublebass) and Brad Webb (drums)

Set 2:

TYSHAWN SOREY (trombone) with Jeff Albert (tromb.) and Mark McGrain (tromb.)

STEVE LEHMAN (sax) with Helen Gillet (cello)

FABRIZIO PUGLISI (piano) with Mike Dillon (vibe) and Marcello Benetti (drums)

Wednesday, September 23 – Freeport-McMoRan Theater at the CAC


FIELDWORK – Vijay Iyer (piano), Steve Lehman (alto saxophone), Tyshawn Sorey (drums)

If the Downbeat Magazine Critics poll is to be trusted, then Fieldwork should be the hottest band in the world right now. Each of the members of the band won at least one category in the 2015 Poll. Vijay Iyer was named Jazz Artist of the Year, Steve Lehman won the Rising Star Jazz Artist and Alto Saxophone categories, and Tyshawn Sorey won the Rising Star Drums category. Fieldwork is a collective of three widely celebrated young composer-performers, and their music reflects each member’s ties to the American jazz tradition, modern composition, African and South Asian musics, underground hip-hop and electronica, and the influential music of Chicago’s A.A.C.M.. Fieldwork’s intensely collaborative rehearsal process resembles that of a rock band: they use group improvisation to develop and expand their intricate compositions into something larger than the sum of its parts. The result is a dense yet visceral musical world — tightly unified ensemble playing, extroverted and high-impact, but with a mysterious inner logic.

About Hip Fest:

“Improvised music has had a home at the Blue Nile [since 2007] under the direction of trombonist Jeff Albert. When Italian drummer Marcello Benetti moved to New Orleans, the leadership got a shot in the arm. Together they formed a non-profit, N.O.I.S.E. (New Orleans International Sound Exchange), and now they are bringing adventurous music lovers the HIP (Hosting Improvising Performers) Fest.” – Jay Mazza – The Vinyl District

“This idea that what we do is difficult to parse or requires deep intellectual knowledge – I don’t think that’s valid. I think you can come to it completely inexperienced with an open mind and get what it’s about right away. Because it’s about interaction between people.” – Jeff Albert interviewed by Alex Rawls – My Spilt Milk

New Orleans International Sound Exchange (NOISE) is a 501(c)3 non-profit corporation dedicated to presenting concerts in New Orleans featuring visiting national and international musical artists alongside New Orleans artists.

Our mission is: To help foster dialog between New Orleans’ creative music community, and the broader international creative music community; To provide an opportunity for New Orleans audiences to experience world renowned artists performing in our own city; and to expose the broader international creative music community to New Orleans’ deep pool of creative talent via these interactions.

Visiting Artist Bios:


“By now, there can be no doubt that pianist-composer Iyer stands among the most daringly original jazz artists of [his] generation,” writes Howard Reich in the Chicago Tribune. The American-born son of Indian immigrants and a 2011 Grammy nominee, Vijay Iyer was described by The Village Voice as “the most commanding pianist and composer to emerge in recent years,” by The New Yorker as one of “today’s most important pianists… extravagantly gifted,” by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” and by the L.A. Weekly as “a boundless and deeply important young star.” In the 2010 Jazz Awards, the Jazz Journalists Association voted Iyer Musician of the Year, an honor previously given to Herbie Hancock, Ornette Coleman, Wayne Shorter, and Dave Holland.

Across this diverse output, Iyer’s artistic vision remains unmistakable. His powerful, cutting-edge music is firmly grounded in groove and pulse, but also rhythmically intricate and highly interactive; fluidly improvisational, yet uncannily orchestrated; emotionally compelling, as well as innovative in texture, style, and musical form. Its many points of reference include jazz piano titans such as Monk, Ellington, Tyner, Alice Coltrane, Andrew Hill, and Randy Weston; the classical sonorities of composers such as Reich, Ligeti, Debussy, and Bartok; the low-end sonics of rock, soul, funk, hip-hop, dub, and electronica; the intricate polyphonies of African drumming; and the vital, hypnotic music of Iyer’s Indian heritage.

A perennial critical favorite, Iyer won the Jazz Journalists Association’s Annual Jazz Award for 2010 Musician of the Year and 2004 Up & Coming Musician of the Year. He has repeatedly won multiple categories of the Downbeat Magazine International Critics’ Poll, including Rising Star Jazz Artist (2006, 2007), Rising Star Composer (2006, 2007), Rising Star Pianist (2009), Small Ensemble of the Year (2010), and Album of the Year (2010). He has appeared on the covers of five international music magazines: Downbeat (US), Jazzwise (UK), JazzThetik and JazzPodium (Germany), and Concerto (Austria). His many other honors include the prestigious 2003 CalArts Alpert Award in the Arts and a 2006 Fellowship in Music Composition from New York Foundation for the Arts. As a composer/performer, Iyer has received commissioning grants from the Rockefeller Foundation MAP Fund (2000, 2001, 2005, 2009), the New York State Council on the Arts (2002), Creative Capital Foundation (2002), Mary Flagler Cary Charitable Trust (2002, 2004), American Composers Forum (2005), Chamber Music America (2005), Meet The Composer (2006), and the Jazz Institute of Chicago (2008).

Iyer has joined forces with a wide range of contemporary artists, including Steve Coleman, Roscoe Mitchell, Amiri Baraka, Wadada Leo Smith, Dead Prez, Amina Claudine Myers, Butch Morris, George Lewis, Craig Taborn, Oliver Lake, Miya Masaoka, Matana Roberts, Trichy Sankaran, Talvin Singh, Pamela Z, Imani Uzuri, Will Power, Suphala, Dafnis Prieto, Burnt Sugar, Karsh Kale, Shujaat Khan, DJ Spooky, High Priest of Antipop Consortium, John Zorn, Bill Morrison, and many others.

A polymath whose work has spanned the sciences, arts, and humanities, Iyer holds a B.S. in Mathematics and Physics from Yale College, and a Masters in Physics and an interdisciplinary Ph.D. in Technology and the Arts from the University of California at Berkeley. He was chosen as one of nine “Revolutionary Minds” in the science magazine Seed, and his research in music cognition has been featured on the radio programs This Week in Science and Studio 360. A faculty member at Manhattan School of Music, New York University, and The New School, he has also given master classes and lectures in composition, improvisation, cognitive science, jazz studies, and performance studies at California Institute of the Arts, Columbia University, Harvard University, Berklee School of Music, several University of California campuses, and the School for Improvisational Music, among others. His writings appear in Music Perception, Current Musicology, Journal of Consciousness Studies, Critical Studies in Improvisation, Journal for the Society of American Music, The Guardian, The Wire, JazzTimes, and the edited anthologies Uptown Conversation: The New Jazz Studies (Columbia University Press), Sound Unbound (MIT Press), and Arcana IV (Hips Road). He is a Steinway artist.


Described as one of the transforming figures of early 21st century jazz, by The Guardian (UK) and as a “dazzling saxophonist, by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehmans pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, Kammerensemble Neue Musik Berlin, the JACK Quartet, and the Talea Ensemble. His recent recording, Travail, Transformation & Flow, was chosen as the #1 Jazz Album of the year by The New York Times.

A recipient of the prestigious Doris Duke Artist Award in 2014, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Jason Moran, Meshell Ndegeocello, and High Priest of Anti-Pop Consortium, among others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehmans work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.

As a Fulbright scholar in France during the 2002-2003 academic year, Lehman began researching the reception of African-American experimental composers working in France during the 1970s. His article in the journal Critical Studies in Improvisation, I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980, is based on his Fulbright research. More recently, Lehman has published writings and presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. His current scholarship, including a contribution to Arcana VI (Hips Road/Tzadik) and his recent doctoral dissertation, examines the overlapping histories of spectral music and jazz improvisation.


Tyshawn Sorey is an active composer, performer, educator, and scholar who works across an extensive range of musical idioms. As a percussionist, trombonist, and pianist, Tyshawn has performed and/or recorded nationally and internationally with his own ensembles and with artists such as Muhal Richard Abrams, Steve Coleman, Butch Morris, Peter Evans, Misha Mengelberg, John Zorn, Vijay Iyer, Wadada Leo Smith, Dave Douglas, Anthony Braxton, Steve Lehman, and Tim Berne, among many others. Tyshawn’s work has been favorably reviewed in Traps, National Public Radio, JazzTimes, The Village Voice, The Wire, The New York Times, Modern Drummer, The Wall Street Journal, and Downbeat Magazine.

As a scholar, Tyshawn received his B.M. in Jazz Studies and Performance from William Paterson University in 2004, where he studied under John Riley, James Williams, and Kevin Norton, while concurrently studying composition with Anton Vishio and John Link, in addition to working in various settings under Peter Jarvis, director of the New Jersey Percussion Ensemble. In 2009, Tyshawn began his studies with composer-performers Anthony Braxton, Jay Hoggard, and Alvin Lucier, which culminated in earning his M.A. in Composition from Wesleyan University. He is currently a Faculty Fellow in Columbia University’s Doctor of Musical Arts program with a concentration in Composition, studying primarily under George Lewis. Sorey has also conducted and participated in various lectures, panel discussions, and master classes on improvisation, composition, and critical theory at venues such as the Chamber Music America conference in New York City, International Realtime Music Symposium in Norway, Hochschule für Musik Köln, School of Improvisational Music, Musikhochschule Nürnberg, Berklee College of Music, Birmingham Conservatory of Music in England, The Stone in New York City, Conservatorium van Amsterdam, and Cité de la Musique in Paris.


Fabrizio Puglisi is a pianist and composer.

In 1987 he began studying at DAMS (Department of Art, Music and Performing Arts) in Bologna, where he currently lives. In 1995 he graduated with honors, writing a thesis about Cecil Taylor.

From 1997 to 2003 he spent long periods of time in Amsterdam, where he collaborated with such musicians as Tristan Honsinger, Han Bennink, Ernst Glerum, Ab Baars, Sean Bergin, Ernst Reijseger, Tobias Delius, and the Tetzepi big band.

He has collaborated, among others, with Steve Lacy, Louis Sclavis, Lester Bowie, Don Moye, David Murray, Hamid Drake, John Zorn, Don Byron, William Parker, Butch Morris, Kenny Wheeler, Enrico Rava, George Russell, Dave Liebman, Ronnie Cuber, Michel Godard, Deus Ex Machina, Roy Paci, Alvin Curran, Mark Dresser, Paolo Fresu, Steve Grossman, Flavio Boltro, Cristina Zavalloni, Gianluca Petrella, Italian Instabile Orchestra, Keith Tippett, Gunter Sommer, Mattias Schubert, Alfio Antico. The dutch big bandTetzepi commissioned him three pieces (“Tricofobia”, “Il Satiro” and “Survivors of the 00 age”) which were recorded in the cds “Crush” and “Seed”.

Fabrizio has played in festivals in the United States, Canada, Spain, Germany, Norway, France, The Netherlands, Belgium, Portugal, Austria, Slovenia, Turkey, Senegal, Egypt, Morocco and Mexico.  He has recorded more than fifty CDs for american, british, dutch, spanish and italian labels.