About Capital M
Founded in 2004, CAPITAL M is an innovative electric
chamber ensemble that seeks real and total integration between modern
classical music and vernacular styles such as rock and jazz. Boasting
an all-star lineup of improvising musicans, Capital M performs intricate
compositions with all the blistering energy and sonic chaos of a
heavy metal band. Such versatility enables Capital M to engage a
wide variety of musical material without a second thought, whether
it’s concept pieces by the likes of Frederic
Rzewski, collective free improvisations, or music written especially
for the group by outside composers.
Members of Capital M include guitarist Mike
Gamble (the Inbetweens, A.D.M.), drummer John
Hadfield (Bang on a Can, Michael Gordon Philharmonic,
Music from China), reed player Peter Hess (World/Inferno
Friendship Society, Guignol, Anti-Social Music, Balkan Beat Box),
bassist Bradley
Kemp (the Bunkbeds, Kilter), and guitarist Kyle
Sanna (Christina Courtin, Mark Gould’s Pink Baby
Monster). Ian Moss contributes
wordless vocals heavily processed through the use of guitar effects.
In March 2006, Capital M presented its first annual World
Premieres Extravaganza at the Cutting Room with new works
by Frank J. Oteri, David Claman, Monika Heidemann, Jennifer Fitzgerald,
Stefan Zeniuk, Bradley Kemp, and Ian Moss. A second World Premieres
Extravaganza was one of the last shows at Tonic before the legendary
music venue closed its doors for good in April 2007. Other notable
engagements have included the 2006 Full Force Festival (curated
by MacArthur "Genius" grant winner John Zorn), the 2005
CMJ Music Marathon, the 2005 21st Century Schizoid Music Festival,
a summer 2005 Eastern Seaboard mini-tour, and appearances at the
Knitting Factory (sharing bills with Todd Reynolds and downtown
guitar legend Elliott Sharp) and numerous other venues in and
around New York City.
The name Capital M comes from “Music with a Capital M,”
a term used by Moss’s college music history professor to refer
to music without regard to genre (as seen for example in the textbook
title 20th Century Music). Capital M has adopted the term
to identify and celebrate music that intentionally challenges traditional
boundaries, particularly those separating classical music from the
larger popular consciousness.
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