Musician & Composer

Ken Vandermark

Ken Vandermark (USA 1964) is an avant-garde composer, improviser, saxophonist/clarinetist, curator, and writer whose unique history has given him the opportunity to perform extensively and record with key figures of the AACM (Fred Anderson), FMP (Peter Brötzmann), post-punk (Terrie Ex); Ethiopian music (Getachew Mekuria), and free jazz from Japan (Akira Sakata). He’s been the director of the Catalytic Sound musician cooperative since 2012, has run Audiographic Records since 2014, and in 1999 was awarded a MacArthur Fellowship in music.

Calendar

16AprilApr

Svetlost with Paal Nilssen-Love & Ken Vandermark

April 16-22, 2025 Macedonia & Bulgaria, Croatia & Hungary TBA […]

01AugustAug

Edition XL (Berman, Dessel, Finnigan, Macri, McDonald, Vandermark)

The Green Mill, Chicago […]

02AugustAug

Edition XL (Berman, Dessel, Finnigan, Macri, McDonald, Vandermark)

The Green Mill, Chicago […]

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Latest Releases

Album: Broadcast Transformer

Broadcast Transformer

Edition Redux

Album: This Is Not A Holiday!

This Is Not A Holiday!

Terrie Ex & Ken Vandermark

Koniec

Sebastiaan Janssen, Hubert Kostkiewicz, Ken Vandermark & Marta Warelis

Album: Better A Rook Than A Pawn

Better A Rook Than A Pawn

Edition Redux

Album: Distant Cousins

Distant Cousins

Paul Lytton & Ken Vandermark

Album: Snapshots: Complete

Snapshots: Complete

Ken Vandermark solo

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Recent Posts

5 Minutes That Will Make You Love Chicago Jazz: The Art Ensemble of Chicago

5 Minutes That Will Make You Love Chicago Jazz: The Art Ensemble of Chicago

Posted on March 5, 2025 by Ken Vandermark

Very flattered to have been asked by Giovanni Russonello of the New York Times to contribute to “5 Minutes That Will Make You Love Chicago Jazz” alongside Dee Alexander, Lauren […]

Edition Redux/Edition XL

Edition Redux/Edition XL

Posted on March 3, 2025 by Ken Vandermark

Many thanks to Bill Meyer for his February 27 review in Dusted magazine of “Broadcast Transformer” by Edition Redux. Though it’s always gratifying to get a positive respon […]

What Would Ellington Do?

What Would Ellington Do?

Posted on February 20, 2025 by Ken Vandermark

“What would Ellington do?” I grabbed that idea from director Billy Wilder (“Double Indemnity”, “Sunset Boulevard”, “Ace in the Hole”, “Some Like It Hot� […]

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Musician (improviser/composer) who plays saxophones and clarinets, and works with a variety of styles and artists.

Many thanks to Bill Meyer for his February 27 revi

Many thanks to Bill Meyer for his February 27 review in Dusted magazine of “Broadcast Transformer” by Edition Redux. Though it’s always gratifying to get a positive response to the work, Bill’s recognition and demonstration of how my interest in cinema has impacted the music with Erez Dessel, Lily Finnegan, and Beth McDonald is especially significant.

[Links to complete review and where to purchase “Broadcast Transformer” in bio.]

(Link to full article, with details about the compositional process for the Edition XL project at kenvandermark.com, also in bio.)

[photo of Edition Redux by Alex Inglizian]

@54bpm
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@nckmcr
@ken_vandermark
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@dustedforreal
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#DukeEllington
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“What would Ellington do?” I grabbed that idea

“What would Ellington do?” I grabbed that idea from director Billy Wilder (“Double Indemnity”, “Sunset Boulevard”, “Ace in the Hole”, “Some Like It Hot…), who asked “How would Lubitsch do it?” in reference to his hero, filmmaker Ernst Lubitsch, as I began work re-thinking the material for a new ensemble project, Edition XL (expanding the quartet of Erez Dessel, Lily Finnegan, and Beth McDonald to a sextet including Josh Berman and Nick Macri).

(Link to full article, with details about creative process and the importance to me of the intersection of the arts at kenvandermark.com, in bio.)

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@54bpm
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#DukeEllington
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#JoshBerman
#KenVandermark
#ImprovisedMusic
#ExperimentalMusic
#FreeJazzMusic
#ContemporaryMusic
#Avant-GardeMusic
#ChicagoMusicScene
#ContemporaryArt

My thanks to music journalist, Mark Corroto, for t

My thanks to music journalist, Mark Corroto, for the informative 4 star review he gave to the new Edition Redux album, “Broadcast Transformer” in All About Jazz. Congratulations go to Erez Dessel (keyboards), Lily Finnegan (drums), and Beth McDonald (tuba/electronics) for the recognition of their outstanding work on the recording. Copies of this limited release CD on Audiographic Records are still available through Catalytic Sound (link in bio).

There is a lot ahead for this quartet in 2025: a new group that includes Josh Berman (cornet) and Nick Macri (acoustic & electric bass), called Edition XL; completion of the recording project with poet John Yau; a residency at the Hungry Brain in September; a tour in Europe during October followed by the OCT-LOFT festival in Shenzhen, China. Updates as they happen!

Link to full “Broadcast Transformer” review in bio.

[photo by Nick Broste, cover art by Beth McDonald, album design by Fede Peñalva]

@ken_vandermark
@54bpm
@bethtuba
@lil.g.finn
@markcorroto
@allaboutjazznearyou
#EditonRedux
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#ChicagoMusicScene

An excellent time Sunday evening with John Corbett

An excellent time Sunday evening with John Corbett getting to talk about the work of one of my heroes- visual artist, filmmaker, musician, Michael Snow- at a presentation of his films “New York Eye and Ear Control” (1964) and “Sshtoorrty” (2005) by Doc Films, a student-led, volunteer-run movie theater and film society at the University of Chicago. I had not seen “New York Eye and Ear Control” projected on a screen since I was at university at McGill in Montreal, when I was studying film and taking a series of courses in experimental cinema in the mid 1980’s. Snow was one of the key figures of those courses.

(Link to full article, with anecdotes about collaborating with Michael Snow at kenvandermark.com, in bio.)

johncorbett
@docfilmschicago
@corbettvsdempseymusic
@irvifran
#MichaelSnow
#CCMC
#AlbertAyler
#NewYorkEyeAndEarControl
#RonGaskin
#JohnCorbett
#DocFilms
#ExperimentalMusic
#ImprovisedMusic
#ExperimentalFilm

Cash only, except when it’s free. Though there

Cash only, except when it’s free. Though there is always incredible art taking place in Chicago, what’s even more remarkable is that so much of it is available for free. Every Friday from 5-7:30pm, Chris Foreman- a truly magnificent Hammond B-3 organ player- performs jazz and soul standards at the Green Mill without a cover charge (though any self-respecting fan of music would contribute something to bucket on top of the keyboard before leaving…). Coupled with the atmosphere of the Mill, it’s an experience that doesn’t exist anywhere else, yet- in Chicago- it can be experienced on a weekly basis for free; kudos to owner Dave Jemilo for making this possible.

(Link to full article in bio.)

johncorbett
@corbettvsdempsey
@blackmonumentensemble
@cauleen_smith
@kdumbleton
@hydeparkjazzfest
#ChrisForeman
#TheGreenMill
#MarkusMüller
#FMP
#PeterBrötzmann
#JostGebers
#JohnCorbett
#CharlesWhite
#IanWhite
#DamonLocks
#CauleenSmith
#KateDumbleton
#hydeparkjazzfestival

There are still a few days for folks who have acce

There are still a few days for folks who have access to the Criterion Channel to see an obscure crime film from Blake Edwards, “Experiment in Terror”, released in 1962 between his movies, “Breakfast at Tiffany’s” and “Days of Wine and Roses”. It leaves the platform at the end of the month. The film is so unknown it’s actually not listed in some of Edwards’ filmographies, yet it’s extraordinary on many levels, and apparently an influence on a number of directors, including the recently passed David Lynch (the neighborhood where one of the main characters, Kelly Sherwood [played impressively by Lee Remick], lives is even called “Twin Peaks”). I don’t think I’ve seen a film that has presented and investigated the male gaze toward women in the same way and is an excellent example for why I am so fascinated by pulp movie genres- their subtexts often explore and reveal issues in society in ways that are not possible for standard dramatic forms. An example would be how the horror film has examined the status quo, such as George Romero’s series of films that began with “Night of the Living Dead” or with the more recent “The Substance”, by Coralie Fargeat).

After watching “Experiment in Terror” it was difficult not to consider Edwards’ movie as the first part of a trilogy exploring the impact of violence on American society, which includes Peter Yates’ “Bullit” (1968), followed by Don Siegel’s “Dirty Harry” (1971). All three take place in San Francisco with storylines that follow the work of law enforcement as they investigate violent crime, and have many other parallels and connections. As these movies progress chronologically the violence presented in them becomes more severe and the life of the city more sordid. The essay following has a number of “spoilers” regarding these three films. If you haven’t seen them yet and want to without knowing plot details in advance, read no further. If you’re curious keep going visit the link in bio which will bring you to the complete article on my Facebook page.

@criterionchannel
#BlakeEdwards
#PeterYates
#DonSiegel
#ExperimentInTerror
#Bullit
#dirtyharry

Further work at Experimental Sound Studio with Ter

Further work at Experimental Sound Studio with Terri Kapsalis on her audio art version of her book, “Jane Addams’ Travel Medicine Kit”, took place on Tuesday, January 22nd with Damon Locks added to the mix and Alex Inglizian again behind the board. Damon created incredible pieces based on sampling components of the songs I recorded for Terri at the first session, on January 16th: “Mountains of Alonistaina”, “The Land of Noonday Night”, “Lonesome Blues”, and “I Didn’t Raise My Boy to Be a Soldier”, and some built around sonic suggestions from Terri (a rhythmic groove Damon invented from a recording of a steam engine was completely brilliant). His work was so expansive, as I sat in the engineering room listening with Terri she indicated that she’d need to rethink her initial organizational plan for the project.

Damon and I then recorded some improvised duos based on verbal cues from Terri. Though I don’t get to play with him often enough (our last opportunity was at Fred Anderson Park during August of 2024) it feels like the musical conversation between us is always deep and surprising. Yesterday’s session was no exception and Damon’s ability to dive into his sound sources and quickly find completely flexible combinations is a marvel to witness. In addition to the duos inspired by Terri’s suggestions, we fabricated spontaneous arrangements of Eleanor Smith’s “The Land of Noonday Night”, Jonny Dodds’ “Lonesome Blues”, and then the rebetika “Mountains of Alonistaina” and Bryan and Piantadosi’s anti-war anthem, “I Didn’t Raise My Boy To Be a Soldier”, by merging them.

Another great day at ESS and I can’t wait to hear the end results of this process when Terri completes the project- my thanks to her, Damon, and Alex for the continuous inspiration.

[photo by Alex Inglizian]

@blackmonumentensemble
@ken_vandermark
@esschicago
#TerriKapsalis
#DamonLocks
#KenVandermark
#ExperimentalSoundStudio
#SoundArt
#AudioArt
#ImprovisedMusic
#ExperimentalMusic
#FreeJazzMusic
#ContemporaryMusic
#Avant-GardeMusic
#chicagomusicscene

Want to spread the word about an exciting new thea

Want to spread the word about an exciting new theater piece written and co-directed by Allegra Harvard, entitled “Credentis”. There are three performances taking place, on January 31st and February 1st at 7pm, with a matinee at 4:30pm on February 2nd, all at The First Church of Chicago, 6400 South Kimbark Avenue. Tickets are only $15 (link to purchase in bio) and the play involves 35 artists, including actors, musicians, and puppeteers. There is incredible work being created right now in Chicago, and “Credentis” will surely be part of this next wave.

@allegra.harvard
#AllegraHarvard
#Credentis
#ChicagoTheater
#ContemporaryTheater
#ChicagoArtScene

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