Based on their assertion, the Girls From House Pageant — hitting Toronto March 7 to 9 this 12 months — gives, “three days of performances by the visionary girls of Toronto’s Inventive Music, Improvisation and Jazz scenes”.
The pageant has grown from humbler origins to a few days of revolutionary artists who not solely blur, however merely ignore the strains between experimental and improvised jazz, digital, and up to date classical music.
We spoke to Bea Labikova, one of many Pageant’s organizers, about Girls From House and its lineup this 12 months. It’s the seventh iteration of the pageant, and the Slovak-Canadian saxophonist and improviser has been concerned from the start.
“Sure, from the start in 2019,” she says. The primary Girls From House was a collaboration with one other group concerned in Toronto’s experimental jazz scene.
“We needed to have fun that the unbelievable work that the ladies on this metropolis are doing,” she says.
For it’s inaugural outing, Girls From House befell over 4 days in small venues, some with a capability of solely 20 or 30 individuals. This 12 months, three multi-artist concert events happen within the 200-seat theatre on the 918 Bathurst complicated.
“It’s very nice to see how the pageant grew by the years.”
Bea Labikova (saxophone), Germaine Liu (drums), and William Parker (bass), Stay at Girls From House Pageant, March 8, 2020 at 918 Bathurst Centre (recorded by Paul Hodge):
Girls In House 2025: March 7 to 9
On March 7, the pageant opens with a triple invoice, together with Allison Cameron: Small Scale Experimental Machine.
“Allison is an incredible improviser and composer,” Bea says. Cameron has a longstanding status and presence in Toronto’s jazz scene, and appeared within the first ever Girls From House. “We prefer to have the opening spot for somebody precisely like that.”
Labikova says Cameron is making ready the titular Machine as a brand new undertaking for Girls From House.
“What I hear, it’s going to have subject recordings, projections, encompass sound.”
Girls From House Large Bang! Performs Nina Simone options a big ensemble who pay tribute to the jazz and Civil Rights icon. “The Large Bang! is 20 individuals,” Bea says. The group was drawn from Toronto’s music scene.
“We commissioned six Canadian arrangers,” Labikova explains. “It’s about an adventurous, imaginative method to the fabric.” It’s a part of a spotlight that’s positioned annually on a selected artist. For 2024, Bjork’s music was chosen to highlight. Nina Simone was each outstanding artist and culturally important determine. “I feel she’s so essential to the Civil Rights motion and what it represents.”
The brand new preparations and interpretations come from a spot of homage. “All of it comes from love for it.” Every of the composer/arrangers (Olivia Shortt, Mingjia Chen, tUkU, Pursuit Grooves, Madeleine Ertel, Tania Gill, and Alexa Belgrave) have been chosen partly for his or her present affinity for Simone’s music and message, and understood what Labikova calls “the gravity of her music”. Nonetheless, they’d free reign to have fun and reimagine in unconventional methods.
The efficiency additionally consists of stay visuals by Meghan Cheng.
Additionally on the invoice on March 7: the Plastic Infants album launch, that includes Christine Duncan, Patrick O’Reilley and Laura Swankey.
On March 8, the present opens with what Labikova calls a “cross pollination with Toronto Dance Theatre”. The co-presentation options Erin Poole and Chantelle Mostacho (motion), together with Rosina Kazi (voice), and shn shn (synths, voice). “Deep improvised dialogues between sound and motion,” she describes. “Annually, we’re presenting at the least one music and motion improvisation piece.” The eagerness for experimental music is deeply related to motion.
“It’s actually unbelievable when these two disciplines meet,” she says.
The March 8 invoice additionally consists of two extra performances that mix motion with music. US-based artist yuniya edi kwon makes use of each violin, voice and motion to improvise and discover ritual. Azumi OE and Eucademix, additionally based mostly within the US, mix electronics and Butoh dance in efficiency.
The pageant finale begins with Meara O’Reilly‘s Hockets For Two Voices, with vocalists Mingjia and Linnea Sablosky in an a cappella efficiency. It’s adopted by Arushi Jain in a efficiency on modular synths that mix digital music and conventional Indian idioms.
Girls From House closes with Myra Melford‘s Fireplace and Water Trio. The legendary American avant-garde pianist Myra Melford is joined by saxophonist Ingrid Laubrock and Lesley Mok on drums.
“She’s an incredible pianist” Bea says. “She’s going to deliver her Fireplace and Water Trio, and we’re very excited to have her. She’s a really particular worldwide visitor.”
They’ll be performing a trio model of Melford’s personal quintet, a piece and efficiency that blurs the strains between composition and improvisation. “There are some excessive vitality textures.”
Improvisation & Experimental Music?
In night time golf equipment and smaller venue, there’s been a current upswing in curiosity within the experimental and improvised music scene in Toronto.
“The vitality feeds into the pageant,” Labikova says. She calls it a really grassroots motion that includes loads of DIY exhibits.
“The sweetness about this music is that it’s inherently inclusive.” The musicians come from various backgrounds, together with classical, jazz, people, digital music, and different genres. “Lots of people from completely different backgrounds have a simple entrance into it,” Bea says. It’s an area the place the strains between the genres soften away.
“That’s actually thrilling to me.”
That broadly based mostly background of musicians makes for infinite potentialities for experimentation. Coming collectively for the music, and specifically for improvisation, additionally creates neighborhood.
“I really feel like that’s an enormous issue,” Labikova says. It consists of each viewers and artists. “I feel there’s one thing actually human about seeing individuals make inventive choices on the stage.” There’s interactions between the musicians, in addition to with the viewers.
The connections are essential. “At the moment, we’re hungry for these sorts of experiences,” she says. As she factors out, generally these experiments work properly… and generally they don’t. It evolves in entrance of the viewers.
It’s a sort of opposition to the very polished recordings that represent the industrial facet of the music business. “We’re hungry for this facet.”
The pageant has additionally obtained loads of assist by way of discovering individuals to deal with the behind the scenes work, and volunteering. “I’ve had lots of people specific an curiosity in this sort of music,” she says.
“We are able to accomplish that a lot with so little. That’s due to the vitality and the imaginative and prescient.”
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Anya Wassenberg is a Toronto Metropolis Editor at Ludwig Van. She is an skilled freelance author, blogger and writing teacher.
