5 October 2015
Jodie Landau and wild Up
Jodie Landau is a composer, vocalist, and percussionist. His music combines elements of chamber music, rock, and jazz for live performance, film, theater, and dance. As a solo performer, Jodie sings while playing vibraphone and marimba.
Landau works with the acclaimed modern music collective, wild Up as a performer, composer and production manager. He has also performed with groups such as Vinny Golia Large Ensemble, ACE Jazz Collective, Gnarwhallaby, Gutbucket Chamber Orchestra, The Guthrie Project, Formalist String Quartet, and the Los Angeles Master Choral Chamber Singers. He has worked with and performed works by composers: Sofia Gubaidulina, Ellen Reid, Christopher Rountree, Pauline Oliveros, Jonathan Beard, Marc Lowenstein, Mark Menzies, Andrew Tholl, Cathlene Pineda, David Johnson, Beth Schenck, and Christopher Cerrone.
In Fall 2013, Jodie was the multi-percussionist in The Industry’s invisible opera for wireless headphones, “Invisible Cities” by Christopher Cerrone at Union Station. In Spring 2014, Jodie composed a live score for Ate9 dANCEcOMPANY’s “mouth to mouth” performed by wild Up.
In Summer 2014, Jodie and wild Up traveled to Reykjavík, Iceland to collaborate on a concert and recording with Graduale Nobili, the Icelandic choir that recorded and toured with Björk for her Biophillia project, and recorded at Greenhouse Studios with Valgeir Sigurðsson, founder of Bedroom Community.
In June 2015, Jodie sang on tour with Ballet National de Marseille and ICKamsterdam performing the premiere of Emio Greco and Pieter C. Scholten’s “Extremalism” with music by Valgeir Sigurðsson. The work premiered at the Holland Festival and Montpellier Danse.
We make music.
New music. Old music.
We’ll play it, as long as we love it.
wild Up is a modern music collective; an adventurous chamber orchestra; a Los Angeles-based group of musicians committed to creating visceral, thought-provoking happenings. wild Up believes that music is a catalyst for shared experiences, and that a concert venue is a place to challenge, excite and ignite a community of listeners.
wild Up has been called “Searing. Penetrating. And thrilling” by Fred Child of Performance Today and “Magnificent” by Mark Swed of the Los Angeles Times. Over the last five years, wild Up has collaborated with orchestras, rock bands and cultural institutions around the world.
The group began in 2010 as a self-funded, completely bootstrapped project of wild Up’s Artistic Director and Conductor Christopher Rountree: after graduate school, Rountree returned to Los Angeles wanting to create a new orchestra made up of young musicians, a group that would reject classical music’s most boring traditions and embrace unusual venues and programs that mashed up classical repertoire, pop culture, new music and performance art. The group’s first few concerts at art studios and rock clubs around L.A. created a fervent fanbase of true believers. Then UCLA’s Hammer Museum tapped wild Up as the museum’s first ever Orchestra in Residence, and after dozens of concerts in the Hammer’s halls, courtyards and galleries, the L.A. Times proclaimed the group “Best Classical Music of 2012.” It was off to the races, as wild Up began working with musical and cultural institutions around the world.
wild Up has been Ensemble in Residence with the Los Angeles Chamber Orchestra, and played numerous programs with the Los Angeles Philharmonic including the Phil’s Brooklyn Festival, Minimalist Jukebox Festival, and Next on Grand Festival. wild Up has a one-of-a-kind education partnership with The Colburn School; taught a semester-long class on Creativity and Consciousness at Bard College’s Longy School; led composition classes with the American Composers Forum and American Composers Orchestra; and founded an ongoing intensive educational program with the L.A. Phil in which 10 young composers and a faculty of eight legendary composers meet to collaborate on new work.
While the group is part of the fabric of classical music in L.A., wild Up also embraces indie music collaborations. The group has an album forthcoming on Bedroom Community Records with Björk’s choir Graduale Nobili, vocalist Jodie Landau, and composer Valgeir Sigurðsson recorded in Reykjavík, Iceland; they played with composer Ellis Ludwig-Leone and rock band San Fermin under a Tyrannosaurus Rex at the Natural History Museum of Los Angeles; they performed Mica Levi of Micachu and the Shapes’ score of the Scarlett Johansson film “Under the Skin” at the Regent Theater in downtown L.A.; they premiered and recorded an opera by Lewis Pesacov of afrobeat band Fool’s Gold about the end of the Mayan Calendar; and they will premiere forthcoming works by Domino Records artist Julia Holter and Eric Avery of rock band Jane’s Addiction.
In the upcoming season, wild Up is Ensemble in Residence with Jennifer Koh and Shai Wosner at the Laguna Beach Music Festival; they embark on their second large-scale production with director James Darrah and production company Chromatic called FAILURE.; and the group will premiere a few dozen new works, including composer David Lang’s “Anatomy Theater” at the L.A. Opera. In October, wild Up makes their New York debut on the American Composers Orchestra’s SONiC festival with a new program called “West.”
wild Up has been featured at numerous West Coast cultural spaces including the Music Academy of the West, Santa Barbara Arts and Lectures, the Broad Stage, Zipper Hall at the Colburn School, REDCAT, Beyond Baroque, the Armory Center for the Arts, Santa Ana Sites and Echo Park’s Jensen Rec Center. Their recordings of Shostakovich, Rzewski, Messiaen and Los Angeles composers have been featured on KUSC, WNYC, Q2, KPFK, Alex Ross’s blog The Rest Is Noise and American Public Media’s Performance Today, among many others.
What the press says
An incredibly confident debut from composer, vocalist, and percussionist Jodie Landau. A cunning blend of rigid composition and spontaneity…
The resulting album offers us a glimpse of a wild, chimerical beast, caught in action for the first time, but never quite tamed.
“you of all things,” is radiantly lovely in every detail, but perhaps the loveliest of all is Landau’s astonishing vocal performance. As the music demands, it rises to something like a bellow, then sinks back to the airiest whisper, and even as it approaches silence remains impressively nuanced and controlled—it loves the microphone, and the mic plainly reciprocates.
In this debut, Landau gets more sheer authority into each measure of music and line of text than some of our best people do in a whole score. And one of the reasons this is such a singular event is that it’s not just Landau. He is writer, singer, and composer but he’s something more: a Peter Pan who has led a big band of not-at-all lost boys and girls from Los Angeles to Reykjavik
Jodie Landau’s compositions create the path the listener is on. His works, and voice, seduce us with the charm of an old flame laying next to us in bed, the past forgotten and all that matters is where we are now. His tracks have an immediacy that occurs organically, building on ideas that all resolve one another in the end and the results are, like the ending of von Trier’sBreaking the Waves, heavenly. The listener is transported by this album to another world, one unscarred by the harsh realities of the day. It uses music in the way that people have hoped to use it—as pure escapism from the world. The album is a labor of love from everyone involved and in this regard, the case could be made that you of all things has a political statement: what the world needs now is love, sweet love. And what the classical world needs now is Landau, sweet Landau to show it.
The greatness of You of All Things is that it re-elaborates without overturning or, worse, overdoing. “Control” is key, here. Landau’s authority in administering influences, while retaining total command of his voice, almost counting the times his chords resonate in the shortest frame of time.
2 October 2015
25 September 2015
you of all things
Released on 2 October 2015
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