Cameron Carpenter: "Maverick Organist" at UCLA's Royce Hall
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The last date listed for Cameron Carpenter was Sunday October 26, 2008 / 7:00pm.
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An all-star lineup -- including David Byrne, Alexis Taylor (Hot Chip), Pat Mahoney (LCD Soundsystem), Kele Okereke (Bloc Party), Money Mark, Joshua Redman, Sinkane and the legendary Lijadu Sisters of Nigeria in their first live performance in 30 years -- takes the stage at the Greek to perform the futuristic, synth-heavy electronic music of elusive Nigerian artist William Onyeabor. The evening begins with a DJ set by special guest Wooden Wisdom (Elijah Wood & Zach Cowie). Onyeabor self-released eight nearly impossible-to-find albums between 1978 and 1985 in Nigeria, but after becoming a born-again Christian turned his back on his work and refused to speak about it for nearly three decades. Last year, after a five-year odyssey to track down Onyeabor and secure his permission to release his music, the Luaka Bop label issued World Psychedelic Classics 5: Who Is William Onyeabor? The album was named one of Time magazine's top ten albums of the year and Pitchfork's Best Reissue of the Year 2013. Even now, after the album's enormous success, the artist's life story remains a mystery -- and he seems content to keep it that way. Learn More
Reviews & Ratings
Dubbed “The Maverick Organist” by The New York Times, Cameron Carpenter is known for his intensely personal, often flamboyant performances. A child prodigy, Carpenter performed as a boy soprano in venues such as Carnegie Hall and the Kennedy Center and with pop star Joe Jackson on his 1994 album Night Music. His organ technique is widely regarded as unmatched, and his readings of Chopin’s Ètudes, Op. 10 question the limits of organ technique, particularly when he plays Chopin’s relentless chromatic runs only by his feet. Cameron’s repertoire spans the organ and piano literature, featuring original compositions, film scores (especially from Japanese animé), and improvisations influenced by folk songs, jazz, disco and pop. From his use of color, to the concert clothes and organ shoes he designs (prompting Women’s Wear Daily to nickname him the “organist/runway model”), his approach to the organ can only be described as iconoclastic.