Sizzle

Sizzle

A casual affair, Sizzle has developed a reputation as a relaxed and friendly mix-up of the avant garde with diverse genres and artistic disciplines from early music to indie rock to performance art. Ensemble Offspring members shed their concert blacks and invite an array of their diversely talented friends to join them in an afternoon full of music making with a difference.

In 2014 highlights include Hatched Academy composer and acclaimed jazz saxophonist, Jeremy Rose and his ‘Pike/Rose/Harrison’ Trio, a special showing of Elle Knox’s humorous restaging of 80’s game show gestures as seen through the hands of EO percussionists Bree and Claire, a wobbly orchestra of musical saws, and a wild bass clarinet solo by Jason before all of the artists join forces for a venomous game of John Zorn’s Cobra.

Bring your family, friends and flatmates and roll up your sleeves for a sizzling smorgasbord of sensory seduction, served up with all the chilled comforts and cheap drinks of your local bowlo.

Program

Jon Rose – Singularities (for saw orchestra)
Elle Knox – Ovation (screening)
Pike/Rose/Harrison Trio
Eric Dolphy – God Bless the Child (for bass clarinet)
John Zorn – Cobra

Performers

Robbie Avenaim (prompter)
Claire Edwardes (percussion)
Lamorna Nightingale (flute)
Jason Noble (clarinet)
Damien Ricketson (musical saw)
Callum G’Froerer (trumpet)
Jeremy Rose (saxophone)
Laurence Pike (drums)
Jackson Harrison (keyboard)
Jim Denley (saxophone)
Cor Fuhler (electronics)
Clayton Thomas (double bass)
Katia Molino (MC)

Performances

Sydney Petersham Bowling Club, 3pm Sunday 29th June

Tickets

FREE thepbc.org.au

Audience response

“It was the first time since moving home that I’ve had the same feeling I used to get all the time in New York, that I was experiencing a vital cultural event that draws all sorts in.”
Sizzle audience member

“…with a packed Bowlo and some pretty cool music, three small boys (and their mother and aunt) had a great time.”
classikON newsletter – 1 July 2014

“All manner of finger gestures, pointings, hat-wearings and arm-wavings contributed to what amounted to musical dialogue. There wasn’t a single player without a smile on their face, perhaps because – as skilled as all the performers were – they had no idea what the fuck was going to happen, either…”
Luke Martin (blog post)