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Nameless Sound was established in 2001 to present the best of international contemporary music and to support the exploration of new methods in arts education. Nameless Sound presents concerts by premier artists in the world of creative music. In addition, Nameless Sound artists work directly with students from Houston’s public schools, community centers, and homeless shelters. Nameless Sound’s educational work helps to nurture a new generation of artists and inspire tomorrow’s creative thinkers.


   
Kaffe Matthews

2nd Ward- A Bicycle Opera


Bikes available at Ripley House and Houston Makerspace
until November 22, 2014.


Resounding Vision Awards dinner

honoring

DAMON CHOICE and JOAN WICH in memoriam

Saturday, November 8, 2014
6:30PM-11PM



Dave Burrell


December 13, 2014


8PM


presented by Nameless Sound, Ripley House Neighborhood Center, and the Bicrophonic Research Institute.


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DineDos

cover


daveb

Ripley House Neighborhood Center
4410 NAVIGATION STREET, HOUSTON TX 77011


Bikes available at Ripley House:
Wednesday and Thursday
8am-8pm

Friday
8am - 7pm

Saturday
8am - 2pm


Houston Makerspace
100 HUTCHESON STREET, HOUSTON TX 77003

Bikes available at Houston Makerspace:
Tuesday-Saturday
10am - 8pm


'2nd Ward | 2° Barrio' tells tales of daily lives from sonic bikes that audience can cycle to hear compositions unfold dependent on where they go. Constructed from a score woven from local journeys, it's a new work commissioned and produced by Nameless Sound made in collaboration with the Bicrophonic Research Institute(BRI), Vampire Squid Labs, Eastside residents, writers, musicians, children, programmers and engineers, directed by UK artist Kaffe Matthews.

Sonic bikes have speakers that play so that cyclist and passers by can enjoy sonic experiences as they go. Hidden sounds might entice you to ride faster, slower, stop, turn in circles, cruise paths or pause in shadows for listening.

2nd Ward | 2° Barrio is the first BRI opera that not only sees the sonic bikes made locally, but that enables them to remain and be developed through an ongoing collaboration with Nameless Sound and Vampire Squid Labs indefinitely.

Workshops for 2nd Ward | 2° Barrio have run at Ripley House with those for seniors conducted by writer and artist Stalina Villarreal and additional musical input from Abel and Denis Cisneros


"2nd Ward  – A Bicycle Opera | 2o Barrio - Una Ópera en Bicicleta is a project is funded by grants from the City of Houston through The Houston Arts Alliance and The Foundation for Contemporary Arts."

Generous technical support is provided by Vampire Squid Labs, Jason Prince, Jairo Sanchez and Matt Simonelli.


THIS EVENT IS FREE!

v


Knights of Columbus Hall
607 EAST WHITNEY STREET, HOUSTON, TX 77022

Special performances
cocktails, resounding hors d’oeuvres,
award ceremony, a small auction of rare art & artifacts
$150.00 per person for early, and $200 after October 15th.

RSVP to (713) 928-5653 - or - administration@namelesssound.org


The Resounding Vision Award honors musicians whose efforts transcend aesthetics and resonate beyond the performance venue. It honors artists who pursue a vision of progress in our communities.

For the second year, Nameless Sound continues the Community Resounding Vision award to honor supporters and advocates for the arts in Houston.

Past recipients of the Resounding Vision Award:
JOE MCPHEE (2005)
WILLIAM P ARKER (2006)
PAULINE OLIVERO S (2007)
CURLEY C ORMIER (2009)
ALV I N F I E L D E R (2012)
ROSCOE MITCHELL (2013)



Latham Hall, Christ Church Cathedral
1117 TEXAS AVENUE, HOUSTON TX 77002

December 13, 2014
8PM


Dave Burrell
(Philadelphia): piano


$13|$10 student |FREE under 18





"Burrell's take on jazz tradition is intelligent and wilful, refusing the categories thrust on it by outsiders... This is the record to bring Burrell to the attention of all listeners who crave the unmistakable thump of authenticity." Ben Watson, The Wire


"No one is willing to admit that (Burrell) is precisely trying to create new standards of achievement, while at the same time a century of African American music and blues of yesteryear keeping ready to surface at any touch of his fingers."
Jazz Magazine (France)


"Burrell's knowledge of the piano and of its jazz literature is nearly encyclopedic. His modern single-line ragtime pieces, like AM Rag and Punaluu Peter trace the lineage of players like Monk back far beyond the Harlem stride pianists."
Francis Davis, Cadence

Kaffe Matthews


2° Barrio-
Una Ópera en Bicicleta





ONGOING
Nameless Sound in communities
   



THOUGHTS FROM A NAMELESS SOUND PARENT
Nameless Sound, Bicrophonic Research Institute y Ripley House presentan

Creative Music Classes
and Workshops





kaffe




Konk Pack at Milby High School October 2013 Konk Pack conducts a workshop at Milby High School October 2013
Ripley House Neighborhood Center
4410 NAVIGATION STREET, HOUSTON TX 77011


'2nd Ward | 2o Barrio' cuenta historias cotidianas a través de bicicletas sonoras que el público puede montar para escuchar composiciones distintas, dependiendo a donde se vaya, que entretejen una red de partituras y viajes. Este es un trabajo comisionado y producido por Nameless Sound, en colaboración con el Instituto de Investigación Bicrófonica (BRI), Vampire Squid Labs, residentes del lado este de la ciudad, escritores, músicos, niños, programadores e ingenieros; y está bajo la dirección de artista británico Kaffe Matthews.

Las bicicletas sonoras tienen parlantes que provocan en el ciclista y los paseantes una experiencia sonora y sónica a medida que pedalean. Los misteriosos sonidos podrían incitarte a pedalear más rápido, más lento, a parar, dar vueltas, viajar a través de los senderos, o encontrar espacios sombreados que te permitan escuchar la música.

‘2nd Ward | 2o Barrio' es la primera ópera de BRI que no solo cuenta con bicicletas que se manufacturan localmente, sino que se quedarán de manera indefinida para el uso de la comunidad, gracias a la colaboración continua de Nameless Sound y Vampire Squid Labs.

Los talleres de ‘2nd Ward | 2o Barrio', dirigidos por la artista y escritora Stalina Villarreal, con la colaboración musical de Abel y Denis Cisneros, han tomado lugar en la Ripley House.

Sigue estos proyectos en:  https://www.facebook.com/bicrophonics

Las bicicletas estarán disponibles para uso público en Ripley House durante horarios normales de trabajo hasta el 22 de noviembre.

2nd Ward – A Bicycle Opera | 2o Barrio - Una Ópera en Bicicleta es un proyecto que cuenta con subsidios de la Ciudad de Houston a través de la Houston Arts Alliance y la Foundation for Contemporary Arts.

¡EVENTO GRATUITO!





Youth & Special Needs Classes

at MECA, 1900 Kane St., Houston, TX [map]

Nameless Sound's Ensembles at MECA are open to all and unite a diverse range of young people from throughout Houston.

Fall classes begin September 3rd, 2014, but participants may enroll at any time!

See Youth Ensemble page for class descriptions and times.

Nameless Sound in the Communities
Each week, Nameless Sound's Creative Music Workshops serve over one hundred young people in homeless shelters, refugee programs, public schools, and community centers. Classes often feature hands-on workshops by visiting artists, some of the most innovative and pioneering musical thinkers in the world. If you would like to host a workshop in your community, please contact us!



"Parents of kids with special needs carry hope around like nomadic people of old carried around fire. We are always looking for outlets for our children's creativity, outlets that are inclusive and nurturing, that allow for growth to their full potentials. This organization is truly one of those outlets."

-Garry Reece, parent of a Nameless Sound student.

Read the rest of his letter here.

Two of creative music's most iconic and monumental voices join forces in a North American debut.

 

For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making.

 

The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert.

 

Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues.   Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.