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An Appetite For Adventure, Indie Invention, Jazz Heart and New Music.

Presented by The Creative Music Series at New School of Music, Cambridge

December 17, 2022

”. “The two musicians tease many sounds out of their instruments, feeding off one another so thoroughly that it’s often hard to determine just who is driving the idea at any given moment.

Cost: $18, $15 Students, Seniors, Cash/Venmo

Contact: Alex @ Creative Music Series,, 617/800-7255

CMS presents:

A rare chance to hear a genuine master of creative music in Cambridge beyond the NEC classroom, a legend in his...


”. “The two musicians tease many sounds out of their instruments, feeding off one another so thoroughly that it’s often hard to determine just who is driving the idea at any given moment.

Cost: $18, $15 Students, Seniors, Cash/Venmo

Contact: Alex @ Creative Music Series,, 617/800-7255

CMS presents:

A rare chance to hear a genuine master of creative music in Cambridge beyond the NEC classroom, a legend in his time!


Another unique musician and opportunity to hear a world-class and traveled creator from “another” alternative music world:

Anthony Coleman, piano, composer, Boston,

in duet with

Brian Chase, drums, from New York

“The two musicians tease many sounds out of their instruments. Even Coleman himself is surprised by the possibilities at play: “From the first time we played together I have never understood how Brian manages to hit those overtones that exactly match and echo the chords and sonorities that I’m playing.” Pop Matters.
Anthony & Brian’s ‘ARCADES’:

“Arcades does not swing, it sprawls. This is full-on exploratory avant-garde improvisation. The two musicians feed off one another so thoroughly that it’s often hard to determine just who is driving the idea at any given moment. As the title track is revving up, it sounds like Chase and Coleman both decided to get louder at the exact same moment. Ditto for the diminuendos, and you can forget all about factors like tempo, meter, and key signature. Coleman may decide to perform some conventional chord patterns on the piano, but it’s just another thing that happens within the moment. It’s there, and then it’s gone. The extreme dynamics shifts and atonality take over as Coleman and Chase push and pull one another away from any fixed idea”.  John Garratt / 24 March 2022, Pop Matters.

“Anthony Coleman is a prolific composer and pianist who has recorded 15 CDs under his own name, and has played on more than 150. His compositions have been commissioned and performed throughout the world. In the 1980’s, he was an important participant in what became known as the Downtown Scene, along with Glenn Branca, Elliott Sharp, Marc Ribot, and John Zorn, which broke down musical barriers, stretched genre definitions, and introduced Radical Jewish Culture as a compositional and improvisatory element”.  Steve Coleman, Arts Fuse (boston), 2018:

“Part of what sets Anthony Coleman\'s (b 1955) music apart from that of his contemporaries is the intensely focused intellectual force with which he pushes against the sybaritic outward-moving impulse and compresses multiple vocabularies around a core poetic. Though compressed, the vocabularies do not merge or blend, they fray at the edges where the play of opposing forces is most intense, and languages contaminate and confuse each other”. New World Records.

Brian, ” in my experience of being a musician I’ve noticed there’s a difference between what I play and the sound I make. When I’m playing, I am me, and when I’m me there are emotions being felt and thoughts being “thunk.” These emotions and thoughts motivate and inspire my playing and are often the source of the music of the moment. But what I’ve learned is that there is not always an identical relationship between what I imagine I’m playing and the sound that’s being made”.

Chase brings the detail, swing, and thoughtfulness of bebop drumming to his rock playing, important ingredients that help set the Yeah Yeah Yeahs apart from their contemporaries. Chase has also shown great flexibility in his craft, always responding to the band’s search for new sounds and grooves with experimentation and soul.  Modern Drummer


Anthony Coleman (born August 30, 1955) is an avant-garde jazz pianist. During the 1980s and 1990s he worked with John Zorn on Cobra, Kristallnacht, The Big Gundown, Archery, and Spillane and helped push modern Jewish music into the 21st century.

From the Sarajevo Jazz Festival to the Jewish Culture Festival in Krakow, Poland, Anthony Coleman’s musical odyssey has taken him through many cultures and led him to wear many hats as composer, improvising keyboardist, and teacher. Coleman joined the NEC faculty in 2006, returning to a school where he himself studied in the 1970s, during the birth of NEC’s Contemporary Improvisation program (then called Third Stream). Received a M.M., at Yale.

At the age of thirteen, Coleman started studying piano with Jaki Byard. At the New England Conservatory of Music he studied with George RussellDonald Martino and Malcolm Peyton.[2]

Coleman has also toured and recorded with John Zorn, Elliott Sharp, Marc Ribot, Shelley Hirsch, Roy Nathanson, and many others.

Coleman has been awarded numerous grants worldwide from New York to numerous European countries. Coleman\'s collaborators over the years have included guitarist Elliott Sharp, trumpeter Dave Douglas, accordion player Guy Klucevsek, composer David Shea, former Captain Beefheart bandmember Gary Lucas, classical and klezmer clarinetist David Krakauer, guitarist Marc Ribot, bassist Greg Cohen, drummer Joey Baron and saxophonist Roy Nathanson.

Coleman has recorded 13 CDs under his own name, and he has played on more than 100 CDs. Recent recordings areThe End of Summer (Tzadik), which features his NEC Ensemble Survivors BreakfastShmutsige Magnaten (Tzadik), Pushy Blueness (Tzadik) and Lapidation (New World), both recordings of his chamber music, and Freakish: Anthony Coleman Plays Jelly Roll Morton (Tzadik, 2009). Plus Damaged by Sunlight (2010) was issued on DVD by the French label La Huit.  And You, a compilation of his large chamber ensembles and solo piano recording from 2008 to 2013.

His projects include the piano trio Sephardic Tinge, which has released three discs: “Sephardic Tinge,” “Morenica,” and “Our Beautiful Garden Is Open” (all Tzadik). And

His Selfhaters Orchestra has issued two CDs: “Selfhaters” and “The Abysmal Richness of the Infinite Proximity of the Same” (both Tzadik).

Brian Chase (born February 12, 1978) is a drummer and drone musician who is mainly known for playing in the New York rock band Yeah Yeah Yeahs. He was ranked at #50 in Gigwise\'s list of The Greatest Drummers of All Time.[1]

Starting at college, Chase played for the rock band The Seconds.[4] Chase has been described by the New York Times as \"a consummate music nerd, a conservatory-trained jazz drummer who still plays in the city’s experimental scene.\"[5]

Outside of his rock work with the Yeah Yeah Yeahs, Chase has performed in a number of experimental duos with other musicians such as Stefan Tcherepnin and Seth Misterka, with whom he released a CD Duo on the Australian Heathen Skulls label in 2007.[6] Other musicians he has played with include Jessica PavoneMary HalvorsonYonatan Gat, Moppa Elliott, and groups Oakley Hall, Blarvuster, and klezmer-fusionists The Sway Machinery[7]

In May 2010 the Chase/Misterka Duo performed at the Melbourne International Jazz Festival[8] and then a month-long Australian tour. A second record The Shape of Sound was released to coincide.[9]

Chaikin Records, is owned and operated by Brian, is a record label dedicated to the musical language of the avant-garde with a special focus on the NYC community and its groundbreaking artists.

In 2013, Chase released the album Drums & Drones.[5] A follow-up, Drums & Drones II, was released in 2018 by Canadian label ICM.[10] Chase\'s drone work has been inspired by his time working at La Monte Young and Marian Zazeela\'s Dream House, NYC.[11] Drums & Drones, an electro-acoustic project focusing on the application of the just intonation tuning system to drums and percussion.

a solo project with a compositional focus on the harmonic resonances derived from drums and percussion. As an exceptionally versatile performer, Brian’s music has taken him across the world to such notable stages as the Sydney Opera House, the Reading and Leeds Festivals, and the Metropolitan Museum of Art as well as countless independent art spaces of music’s ‘underground’ communities. Recorded works include several with Yeah Yeah Yeahs and many with leading improvisors and composers such as Zeena Parkins, Catherine Sikora and Jeremiah Cymerman. In 2018, Brian released Drums and Drones: Decade, a triple album with 144 page book (Chaikin Records), described in The Wire as “luscious laboratory experiments in listening to stretched skins, wooden vessels and metallic surfaces.” As an educator, Brian was a visiting professor at Bennington College and guest lecturer at So Percussion’s Summer Institute at Princeton University. Essays and writings have appeared in John Zorn’s Arcana series, Modern Drummer magazine, and culture blog Talkhouse.


Dates & times

Sat, Dec 17 @ 7:45 pm


$18, students/seniors $15, Cash/Venmo  



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