Jack Roulette
2021年3月21日Register here: http://gg.gg/oruyc
on
*Jack Oulette
*Russian Roulette Jack Savoretti Lyrics
If you wanted to, you could spend all day ruminating about the concept of what makes something better than something else. Here’s a Stanford University page on the philosophy that explains “value theory” if you’re curious about “what is better.”
Play online casino games including blackjack, roulette, poker, and slots and try our exclusive live dealer experience. FAQ SIGN IN 100% Deposit Bonus up to $1500 on Your First Deposit.
*Online Casino Games at Interwetten. Soak up a genuine casino atmosphere while playing classics like Black Jack Roulette Slots and many more.
*Russian roulette was a game of chance in which players take turns firing a gun at themselves, with one bullet placed in a random chamber of the weapon. During Day 3, Jack Bauer, a prison guard named Buchanan and Ramon Salazar were forced to play Russian Roulette by Peel. Buchanan shot himself in the head. Then Jack was to play against Salazar. However, in a twist of events, during one of the.
*You will consistently have these short bursts of winning hits, but overall, in the long run, playing ’Jack’s Positional Roulette’ correctly you will have about 5 - 1/2 hits per 38 spins playing four units straight - up on four different numbers; which gives about a 19% win over the long run.
*Play Casino - Casino Slots, BlackJack, Roulette We can help you find the most relied on online casinos for US gamers here on our website. You need to be able to know how to select finest U.S.A. Online gambling establishments before you can even start playing games at a real cash gambling establishment online USA.
Asking if blackjack is better than roulette is a lot like asking what a best-selling beer does for you. Some people will scream it “tastes great” while others will argue it’s “less filling.” It’s pretty subjective. The comparison for blackjack and roulette is a lot similar.
It’s all about context, isn’t it?
I’m sure the old adage about sauce for gooses and ganders only works for the casino. They don’t care where the player loses money as long as everyone is having fun.
Since gambling is best enjoyed as entertainment, comparing blackjack and roulette feels like comparing a 5-course meal to an elite buffet. As long as the food is good in both places, everyone should be happy.
Everyone has his or her own preferences. So, when a beginning gambler is trying to decide between the meal of blackjack or the roulette buffet, they’ll have to decide which suits their diet best.
The rules for deciding which game is best in gambling should be simple.
*Where do I consistently lose the most money?
*Where do I enjoy the most wins?
*Am I having fun?
But what is the best way to explain the pros and cons of both games to a beginner?
Imagine taking your kids to the casino on their 21st birthday. They finally get to enjoy a night with the adults. Here’s how I would compare the two games to my kids:Blackjack Is More Quietly Social Than Roulette
People chat away at blackjack tables, but the conversation is more subdued in my experience. Many players are more relaxed than the folks standing at the roulette tables.
For someone who is taking it all in for the first time, blackjack is a good game where you can explain odds and probabilities. You can’t sit there and count cards out loud for a newbie gambler, but you can explain the game patiently.
I’ve stood next to more than one roulette table where some young guy screamed loudly every time the ball landed in his zone. It’s hard to hold a conversation like that.
Other times the casino may be running slow. You can stand at the roulette table and explain the game to someone because there are no other players. The croupiers are efficient and professional.
I’ve never felt inclined to talk to strangers at a roulette table. I’m more willing to chit with the chatters when seated for blackjack. It feels more intimate.Blackjack Is Less Likely to Take Your Money
I once watched a guy place substantial bets on five individual numbers. That was his system. His money didn’t last long.
You can bet the table limit in blackjack and burn through a small bankroll quickly. But comparatively speaking, blackjack players are more conservative than single-number roulette players.
You’re not at the blackjack table to get rich. You’re there to play a game that requires skill. Any fool can drop $100 on a single number in roulette.
The player is responsible for his wagers. I’ve watched people drop a couple thousand dollars on blackjack. I’ve lost as much as $500 myself.It’s not a safe game, but the player is less likely to play blackjack unsafely.
If you take the time to think about the game, you become more cautious. Deciding whether to split 5s is much harder than deciding not to split 10s. (You should never split either, by the way.)
In roulette, I quickly grow bored with placing all my money in 2-for-1 zones. Sometimes I bet $25 on a single number. I’ve never won that bet, but it was fun while it lasted.Roulette Is Designed to Give You an Adrenaline Rush
If you want an exciting game, then play roulette or craps. Roulette is easier to understand, so introduce your kid to casino excitement through roulette first.
A seasoned blackjack player may catch on quickly when someone else is running the table. Maybe the guy is only lucky, but he wins a lot of hands. There’s a certain quiet excitement in watching someone play so well.
In roulette, if there’s a crowd around the table, everyone may give a shout when a person wins a risky bet. The excitement grows as the croupier pushes a stack of chips toward a player.
Although the gameplay in blackjack can proceed faster than a slow roulette table, roulette seems to take less time to resolve. That adrenaline rush can go on for a while when the crowd is hot, and the table is paying.
With enough players betting on the wheel, roulette looks a lot like the way it’s shown in the movies. Someone is always getting chips, even if it’s not the same player. The crowd loves a winner.
Crowds are drawn to excitement. If people are hanging around a table, there is a reason. I see groups converge on roulette more often than for blackjack. If your newbie gambler likes attention, this may be the game for them.Players Have More Control Over Risk in Roulette
There are more options in roulette than in blackjack. And unlike blackjack, where the player must wait for cards to be dealt to adjust the risk they take, everything is decided at once in roulette.
The game is entirely passive, but players can choose from a wider variety of options than in blackjack.
How often do you get four or five splits in a single hand of blackjack?
Players who want to throw caution to the winds and challenge the luck gods prefer roulette to blackjack. It’s easier to try a different idea every game. In blackjack, the draw of the cards limits the players’ choices.
Players can also balance their risk in roulette. Place a low-risk outside bet in a 2-for-1 zone and then place a couple of higher-risk inside bets on 4-number points.More People Can Play a Roulette Table Than a Blackjack Table
This varies by casino. Some casinos place seats around their roulette tables. Even if you can stand and bet, the seats take up space.
Blackjack tables max out at seven players, no matter what. If there is sufficient demand and available staff, the casino will open more blackjack tables.
The same is true for roulette. As the day shifts into evening, more people gravitate toward the roulette tables. Only one wheel may have been active in the slow afternoon, but if a casino has extra, they certainly will open up several more in the evening.
Yet, there is usually no specified limit on the number of players for a roulette table. If 12 people can stand around the table and keep their chips separate, that should be okay.
In a busy casino, roulette may be the easier game to get into. Availability always varies by venue, but it’s been my experience that even on busy nights there’s always room for one more at a roulette table.
And that is where all the yelling and screaming comes from. The bigger the crowd at a table, the more likely they get excited. All they are waiting for is someone to score a nice win.Conclusion
When comparing the merits of both games, most people start talking about the house edge. The edge is one way to compare games.Jack Oulette
But what is the chance you’ll split five times versus scoring a blackjack on a single draw?
There are multiple edges within each game. The chance of the ball landing on any 1 number ranges from 1-in-37 to 1-in-39, depending on the roulette variation you’re playing. The chance of the ball landing on either black or red is just under 50%.
The payoff odds in both games are adjusted to ensure the house makes a profit in the long run. The real question for me has always been about where I think I have a shot at getting my money back.
That is most often blackjack.
But roulette is a decent fallback game for conservative players who want to take on a little more risk. It’s best to set a limit on how much risk you take before you begin placing your chips.
After all, the night is longer for those who must drive home early than for those who drive home as winners.Russian Roulette Jack Savoretti LyricsPlease enable JavaScript to view the comments powered by Disqus.
JACK Quartet’s collaboration with Catherine Lamb has become a central artistic relationship, pushing forward the creative work of both the composer and quartet. Lamb’s music represents a facet of the very cutting edge of string instrument writing today. JACK has spent its existence expanding their abilities as chamber musicians and taking part in the conversation about enriching the language of possibilities in string quartet music. That the challenge in Lamb’s music comes through the lens of harmony and not through extended techniques or outre rhythmic demands, but rather a yogic attention to the sustained sound of the strings resonating traditionally, makes it all the more fascinating.
divisio spiralis requires JACK to retune their instruments to create new patterns of resonance as they slowly descend for over an hour, journeying through harmonic landscapes that can be crystalline and fuzzy, throbbing and placid, using microtonal tunings based on the overtone series of a 10 Hz fundamental. As Lamb describes the work, “the first time I discovered Erv Wilson’s 1965 organization of the overtone series as a logarithmic spiral, the image immediately resonated with me as a lucid means to describe harmonic space as numbers in repetition and interaction, generating/blooming outwards with each new prime and composite. I absorbed this image while working on the piece for JACK, and after applying a 29-limit reductionist omission to the tonal palette and situating the four string instruments inside it as distinct resonating chambers, I utilized this image as an inspiration for the total piece.”
Christopher Otto: violinAustin Wulliman: violinJohn Pickford Richards: violaJay Campbell: cello
Hailed by The New York Times as the “our leading new-music foursome,” the JACK Quartet is one of the most acclaimed, renowned, and respected groups performing today. JACK has maintained an unwavering commitment toward performing and commissioning new works, giving voice to underheard composers, and cultivating an ever-greater sense of openness toward contemporary classical music. In recent seasons, they have been selected as Musical America’s 2018 “Ensemble of the Year”, named to WQXR’s “19 for 19 Artists to Watch”, and awarded an Avery Fisher Career Grant. Through intimate relationships with today’s most creative voices, JACK embraces close collaboration with the composers they perform, leading to a radical embodiment of the technical, musical, and emotional aspects of their work. The quartet has worked with artists such as George Lewis, Julia Wolfe, Helmut Lachenmann, Chaya Czernowin, Philip Glass, and many more. JACK is comprised of violinists Christopher Otto and Austin Wulliman, violist John Pickford Richards, and cellist Jay Campbell.
Catherine Lamb (b. 1982, Olympia, WA. U.S.) is an active composer exploring the interaction of tone, summations of shapes and shadows, phenomenological expansions, the architecture of the liminal (states in between outside/inside), and the long introduction form. She began her musical life early, later abandoning the conservatory in 2003 to study Hindustani music in Pune, India. She received her BFA in 2006 under James Tenney and Michael Pisaro at CalArts in Los Angeles, where she first developed her research into the interaction of tone and continued to compose, teach, and collaborate with musicians (such as Laura Steenberge and Julia Holter on Singing by Numbers). In 2008 she received a W. A. Gerbode Foundation and W. & F. Hewlett Foundation Emerging Composers initiative for Dilations, premiered at the Other Minds festival in San Francisco. She mentored under the experimental filmmaker/Dhrupad musician Mani Kaul until his death in 2011. In 2012 she received her MFA in music/sound from the Milton Avery School of Fine Arts at Bard College in New York. She toured Shade/Gradient extensively and was awarded the Henry Cowell Research Fellowship to work with Eliane Radigue in Paris. In 2013 Lamb relocated to Berlin, Germany where she lives currently, and has written for ensembles such as Konzert Minimal, Dedalus, Ensemble neoN, the London Contemporary Orchestra, as well as the JACK Quartet; while collaborating regularly with Marc Sabat, Johnny Chang (Viola Torros), Bryan Eubanks, and Rebecca Lane. Her first orchestral work, Portions Transparent/Opaque, was premiered by the BBC Scottish Symphony Orchestra at the 2014 Tectonics Festival in Glasgow and was conducted by Ilan Volkov. She completed a series of nine pieces entitled Prisma Interius (2016-18) in which the infinite opening filter from inner to outer perceptions are deeply explored. In 2019 she co-founded the collectively oriented Harmonic Space Orchestra in Berlin. She is a 2020 recipient of the Ernst von Siemens Composer’s prize, a 2018 recipient of the Grants to Artists award from the Foundation for Contemporary Arts, a Staubach Fellow for the 2016 Darmstadt Summer course as well as a 2016-2017 Schloss Solitude Fellow. Her writings/recordings are published in KunstMusik, Open Space Magazine, QO2, NEOS, New World Records, Another Timbre, Other Minds, Winds Measure, Hubro Records, Black Pollen Press, Sound American, and Sacred Realism.
Christopher Otto performs with ensembles including Ensemble Signal, The Cellar and Point, Alarm Will Sound, Talea Ensemble, International Contemporary Ensemble, The Theatre of Eternal Music String Ensemble, Ne(x)tworks, and The Knights. He has premiered and recorded several chamber works by John Zorn and has performed and recorded as soloist in Zorn’s violin concerto Contes de Fées. Christopher has also performed as soloist in Brian Ferneyhough’s Terrain with Ensemble Signal. His violin teachers include Cyrus Forough and Timothy Ying. He is a founder, along with his wife Emily DuFour, of Hutchins East, an ensemble performing on a set of eight proportionally-sized string instruments made by Carleen Hutchins, and has written and arranged several works for the ensemble. He studied composition at the Eastman School of Music with Robert Morris, David Liptak, Martin Bresnick, and James Willey as well as mathematics at the University of Rochester. Christopher has written works in just intonation for string quartet, violin duo, violin octet, violin with electronics, and ensembles of Hutchins instruments. His violin duo was recorded by Erik Carlson and is available on SoundCloud along with his violin octet. An article on his violin octet appears in Arcana VII, an anthology edited by John Zorn. Christopher serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Praised as a “gifted, adventuresome violinist” by the Chicago Tribune and as a “remarkable, unbelievable violinist/violist extraordinaire” by the syndicated radio program Relevant Tones, Austin Wulliman has gained critical and audience attention through his “wide technical range and interpretive daring” (New Music Box) as a soloist and chamber musician. He first forged his reputation in Chicago with the collective Ensemble Dal Niente, serving as the group’s Program Director, and winning the Kranichstein Music Prize (the grand prize for interpretation) at the Darmstadt Summer Course in 2012. Austin was also a founding member of Spektral Quartet, serving as Ensemble in Residence (as well as Adjunct Instructor of Violin) at the University of Chicago from 2011-2016. Consistently in search of new musical pathways through ensemble work, Austin has collaborated with a wide range of musical voices, from artists like Deerhoof and Julia Holter, to Miguel Zenon and Billy Childs, or Brian Ferneyhough and Kaija Saariaho. Furthermore, he has also been a guest artist with groups such as Eighth Blackbird, and the Chicago Symphony Orchestra’s MusicNow Ensemble. His debut solo release Diligence Is to Magic as Progress Is to Flight was released in 2014 in collaboration with bassoonist/composer Katherine Young. Austin holds degrees from the University of Michigan and Northwestern University, as well as having held fellowships at the Aspen Music Festival and Lucerne Academy. Austin serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Called “wholesome-looking” by the New York Times, violist John Pickford Richards has gained a reputation for performing new and unusual music around the globe. He was a founding member of the ensemble Alarm Will Sound, and has appeared with artists including Björk and Grizzly Bear and has performed as soloist with the Pasadena Symphony, Armenian Philharmonic, Wordless Music Orchestra, OSSIA, and with the Lucerne Festival Academy Orchestra playing the solo part to Luciano Berio’s Chemins II under the direction of Pierre Boulez. He holds degrees from the Interlochen Arts Academy and Eastman School of Music where his primary teachers were David Holland and John Graham. John serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Cellist Jay Campbell has been recognized around the world for approaching both old and new works with equally probing curiosity and emotional commitment. His performances have been described as “brilliant and insatiably inquisitive”, “electrifying”, and “prodigious” by the New York Times, and “gentle, poignant, and deeply moving” by the Washington Post. A recipient of the prestigious Avery Fisher Career Grant, Jay performed with the New York Philharmonic in 2013 and was a curator for the New York Philharmonic’s 2016 Biennale. He has soloed in major venues around the globe including Carnegie Hall’s Stern Auditorium, Avery Fisher Hall, and Lucerne’s KKL and performed recitals in Carnegie’s Weill
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on
*Jack Oulette
*Russian Roulette Jack Savoretti Lyrics
If you wanted to, you could spend all day ruminating about the concept of what makes something better than something else. Here’s a Stanford University page on the philosophy that explains “value theory” if you’re curious about “what is better.”
Play online casino games including blackjack, roulette, poker, and slots and try our exclusive live dealer experience. FAQ SIGN IN 100% Deposit Bonus up to $1500 on Your First Deposit.
*Online Casino Games at Interwetten. Soak up a genuine casino atmosphere while playing classics like Black Jack Roulette Slots and many more.
*Russian roulette was a game of chance in which players take turns firing a gun at themselves, with one bullet placed in a random chamber of the weapon. During Day 3, Jack Bauer, a prison guard named Buchanan and Ramon Salazar were forced to play Russian Roulette by Peel. Buchanan shot himself in the head. Then Jack was to play against Salazar. However, in a twist of events, during one of the.
*You will consistently have these short bursts of winning hits, but overall, in the long run, playing ’Jack’s Positional Roulette’ correctly you will have about 5 - 1/2 hits per 38 spins playing four units straight - up on four different numbers; which gives about a 19% win over the long run.
*Play Casino - Casino Slots, BlackJack, Roulette We can help you find the most relied on online casinos for US gamers here on our website. You need to be able to know how to select finest U.S.A. Online gambling establishments before you can even start playing games at a real cash gambling establishment online USA.
Asking if blackjack is better than roulette is a lot like asking what a best-selling beer does for you. Some people will scream it “tastes great” while others will argue it’s “less filling.” It’s pretty subjective. The comparison for blackjack and roulette is a lot similar.
It’s all about context, isn’t it?
I’m sure the old adage about sauce for gooses and ganders only works for the casino. They don’t care where the player loses money as long as everyone is having fun.
Since gambling is best enjoyed as entertainment, comparing blackjack and roulette feels like comparing a 5-course meal to an elite buffet. As long as the food is good in both places, everyone should be happy.
Everyone has his or her own preferences. So, when a beginning gambler is trying to decide between the meal of blackjack or the roulette buffet, they’ll have to decide which suits their diet best.
The rules for deciding which game is best in gambling should be simple.
*Where do I consistently lose the most money?
*Where do I enjoy the most wins?
*Am I having fun?
But what is the best way to explain the pros and cons of both games to a beginner?
Imagine taking your kids to the casino on their 21st birthday. They finally get to enjoy a night with the adults. Here’s how I would compare the two games to my kids:Blackjack Is More Quietly Social Than Roulette
People chat away at blackjack tables, but the conversation is more subdued in my experience. Many players are more relaxed than the folks standing at the roulette tables.
For someone who is taking it all in for the first time, blackjack is a good game where you can explain odds and probabilities. You can’t sit there and count cards out loud for a newbie gambler, but you can explain the game patiently.
I’ve stood next to more than one roulette table where some young guy screamed loudly every time the ball landed in his zone. It’s hard to hold a conversation like that.
Other times the casino may be running slow. You can stand at the roulette table and explain the game to someone because there are no other players. The croupiers are efficient and professional.
I’ve never felt inclined to talk to strangers at a roulette table. I’m more willing to chit with the chatters when seated for blackjack. It feels more intimate.Blackjack Is Less Likely to Take Your Money
I once watched a guy place substantial bets on five individual numbers. That was his system. His money didn’t last long.
You can bet the table limit in blackjack and burn through a small bankroll quickly. But comparatively speaking, blackjack players are more conservative than single-number roulette players.
You’re not at the blackjack table to get rich. You’re there to play a game that requires skill. Any fool can drop $100 on a single number in roulette.
The player is responsible for his wagers. I’ve watched people drop a couple thousand dollars on blackjack. I’ve lost as much as $500 myself.It’s not a safe game, but the player is less likely to play blackjack unsafely.
If you take the time to think about the game, you become more cautious. Deciding whether to split 5s is much harder than deciding not to split 10s. (You should never split either, by the way.)
In roulette, I quickly grow bored with placing all my money in 2-for-1 zones. Sometimes I bet $25 on a single number. I’ve never won that bet, but it was fun while it lasted.Roulette Is Designed to Give You an Adrenaline Rush
If you want an exciting game, then play roulette or craps. Roulette is easier to understand, so introduce your kid to casino excitement through roulette first.
A seasoned blackjack player may catch on quickly when someone else is running the table. Maybe the guy is only lucky, but he wins a lot of hands. There’s a certain quiet excitement in watching someone play so well.
In roulette, if there’s a crowd around the table, everyone may give a shout when a person wins a risky bet. The excitement grows as the croupier pushes a stack of chips toward a player.
Although the gameplay in blackjack can proceed faster than a slow roulette table, roulette seems to take less time to resolve. That adrenaline rush can go on for a while when the crowd is hot, and the table is paying.
With enough players betting on the wheel, roulette looks a lot like the way it’s shown in the movies. Someone is always getting chips, even if it’s not the same player. The crowd loves a winner.
Crowds are drawn to excitement. If people are hanging around a table, there is a reason. I see groups converge on roulette more often than for blackjack. If your newbie gambler likes attention, this may be the game for them.Players Have More Control Over Risk in Roulette
There are more options in roulette than in blackjack. And unlike blackjack, where the player must wait for cards to be dealt to adjust the risk they take, everything is decided at once in roulette.
The game is entirely passive, but players can choose from a wider variety of options than in blackjack.
How often do you get four or five splits in a single hand of blackjack?
Players who want to throw caution to the winds and challenge the luck gods prefer roulette to blackjack. It’s easier to try a different idea every game. In blackjack, the draw of the cards limits the players’ choices.
Players can also balance their risk in roulette. Place a low-risk outside bet in a 2-for-1 zone and then place a couple of higher-risk inside bets on 4-number points.More People Can Play a Roulette Table Than a Blackjack Table
This varies by casino. Some casinos place seats around their roulette tables. Even if you can stand and bet, the seats take up space.
Blackjack tables max out at seven players, no matter what. If there is sufficient demand and available staff, the casino will open more blackjack tables.
The same is true for roulette. As the day shifts into evening, more people gravitate toward the roulette tables. Only one wheel may have been active in the slow afternoon, but if a casino has extra, they certainly will open up several more in the evening.
Yet, there is usually no specified limit on the number of players for a roulette table. If 12 people can stand around the table and keep their chips separate, that should be okay.
In a busy casino, roulette may be the easier game to get into. Availability always varies by venue, but it’s been my experience that even on busy nights there’s always room for one more at a roulette table.
And that is where all the yelling and screaming comes from. The bigger the crowd at a table, the more likely they get excited. All they are waiting for is someone to score a nice win.Conclusion
When comparing the merits of both games, most people start talking about the house edge. The edge is one way to compare games.Jack Oulette
But what is the chance you’ll split five times versus scoring a blackjack on a single draw?
There are multiple edges within each game. The chance of the ball landing on any 1 number ranges from 1-in-37 to 1-in-39, depending on the roulette variation you’re playing. The chance of the ball landing on either black or red is just under 50%.
The payoff odds in both games are adjusted to ensure the house makes a profit in the long run. The real question for me has always been about where I think I have a shot at getting my money back.
That is most often blackjack.
But roulette is a decent fallback game for conservative players who want to take on a little more risk. It’s best to set a limit on how much risk you take before you begin placing your chips.
After all, the night is longer for those who must drive home early than for those who drive home as winners.Russian Roulette Jack Savoretti LyricsPlease enable JavaScript to view the comments powered by Disqus.
JACK Quartet’s collaboration with Catherine Lamb has become a central artistic relationship, pushing forward the creative work of both the composer and quartet. Lamb’s music represents a facet of the very cutting edge of string instrument writing today. JACK has spent its existence expanding their abilities as chamber musicians and taking part in the conversation about enriching the language of possibilities in string quartet music. That the challenge in Lamb’s music comes through the lens of harmony and not through extended techniques or outre rhythmic demands, but rather a yogic attention to the sustained sound of the strings resonating traditionally, makes it all the more fascinating.
divisio spiralis requires JACK to retune their instruments to create new patterns of resonance as they slowly descend for over an hour, journeying through harmonic landscapes that can be crystalline and fuzzy, throbbing and placid, using microtonal tunings based on the overtone series of a 10 Hz fundamental. As Lamb describes the work, “the first time I discovered Erv Wilson’s 1965 organization of the overtone series as a logarithmic spiral, the image immediately resonated with me as a lucid means to describe harmonic space as numbers in repetition and interaction, generating/blooming outwards with each new prime and composite. I absorbed this image while working on the piece for JACK, and after applying a 29-limit reductionist omission to the tonal palette and situating the four string instruments inside it as distinct resonating chambers, I utilized this image as an inspiration for the total piece.”
Christopher Otto: violinAustin Wulliman: violinJohn Pickford Richards: violaJay Campbell: cello
Hailed by The New York Times as the “our leading new-music foursome,” the JACK Quartet is one of the most acclaimed, renowned, and respected groups performing today. JACK has maintained an unwavering commitment toward performing and commissioning new works, giving voice to underheard composers, and cultivating an ever-greater sense of openness toward contemporary classical music. In recent seasons, they have been selected as Musical America’s 2018 “Ensemble of the Year”, named to WQXR’s “19 for 19 Artists to Watch”, and awarded an Avery Fisher Career Grant. Through intimate relationships with today’s most creative voices, JACK embraces close collaboration with the composers they perform, leading to a radical embodiment of the technical, musical, and emotional aspects of their work. The quartet has worked with artists such as George Lewis, Julia Wolfe, Helmut Lachenmann, Chaya Czernowin, Philip Glass, and many more. JACK is comprised of violinists Christopher Otto and Austin Wulliman, violist John Pickford Richards, and cellist Jay Campbell.
Catherine Lamb (b. 1982, Olympia, WA. U.S.) is an active composer exploring the interaction of tone, summations of shapes and shadows, phenomenological expansions, the architecture of the liminal (states in between outside/inside), and the long introduction form. She began her musical life early, later abandoning the conservatory in 2003 to study Hindustani music in Pune, India. She received her BFA in 2006 under James Tenney and Michael Pisaro at CalArts in Los Angeles, where she first developed her research into the interaction of tone and continued to compose, teach, and collaborate with musicians (such as Laura Steenberge and Julia Holter on Singing by Numbers). In 2008 she received a W. A. Gerbode Foundation and W. & F. Hewlett Foundation Emerging Composers initiative for Dilations, premiered at the Other Minds festival in San Francisco. She mentored under the experimental filmmaker/Dhrupad musician Mani Kaul until his death in 2011. In 2012 she received her MFA in music/sound from the Milton Avery School of Fine Arts at Bard College in New York. She toured Shade/Gradient extensively and was awarded the Henry Cowell Research Fellowship to work with Eliane Radigue in Paris. In 2013 Lamb relocated to Berlin, Germany where she lives currently, and has written for ensembles such as Konzert Minimal, Dedalus, Ensemble neoN, the London Contemporary Orchestra, as well as the JACK Quartet; while collaborating regularly with Marc Sabat, Johnny Chang (Viola Torros), Bryan Eubanks, and Rebecca Lane. Her first orchestral work, Portions Transparent/Opaque, was premiered by the BBC Scottish Symphony Orchestra at the 2014 Tectonics Festival in Glasgow and was conducted by Ilan Volkov. She completed a series of nine pieces entitled Prisma Interius (2016-18) in which the infinite opening filter from inner to outer perceptions are deeply explored. In 2019 she co-founded the collectively oriented Harmonic Space Orchestra in Berlin. She is a 2020 recipient of the Ernst von Siemens Composer’s prize, a 2018 recipient of the Grants to Artists award from the Foundation for Contemporary Arts, a Staubach Fellow for the 2016 Darmstadt Summer course as well as a 2016-2017 Schloss Solitude Fellow. Her writings/recordings are published in KunstMusik, Open Space Magazine, QO2, NEOS, New World Records, Another Timbre, Other Minds, Winds Measure, Hubro Records, Black Pollen Press, Sound American, and Sacred Realism.
Christopher Otto performs with ensembles including Ensemble Signal, The Cellar and Point, Alarm Will Sound, Talea Ensemble, International Contemporary Ensemble, The Theatre of Eternal Music String Ensemble, Ne(x)tworks, and The Knights. He has premiered and recorded several chamber works by John Zorn and has performed and recorded as soloist in Zorn’s violin concerto Contes de Fées. Christopher has also performed as soloist in Brian Ferneyhough’s Terrain with Ensemble Signal. His violin teachers include Cyrus Forough and Timothy Ying. He is a founder, along with his wife Emily DuFour, of Hutchins East, an ensemble performing on a set of eight proportionally-sized string instruments made by Carleen Hutchins, and has written and arranged several works for the ensemble. He studied composition at the Eastman School of Music with Robert Morris, David Liptak, Martin Bresnick, and James Willey as well as mathematics at the University of Rochester. Christopher has written works in just intonation for string quartet, violin duo, violin octet, violin with electronics, and ensembles of Hutchins instruments. His violin duo was recorded by Erik Carlson and is available on SoundCloud along with his violin octet. An article on his violin octet appears in Arcana VII, an anthology edited by John Zorn. Christopher serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Praised as a “gifted, adventuresome violinist” by the Chicago Tribune and as a “remarkable, unbelievable violinist/violist extraordinaire” by the syndicated radio program Relevant Tones, Austin Wulliman has gained critical and audience attention through his “wide technical range and interpretive daring” (New Music Box) as a soloist and chamber musician. He first forged his reputation in Chicago with the collective Ensemble Dal Niente, serving as the group’s Program Director, and winning the Kranichstein Music Prize (the grand prize for interpretation) at the Darmstadt Summer Course in 2012. Austin was also a founding member of Spektral Quartet, serving as Ensemble in Residence (as well as Adjunct Instructor of Violin) at the University of Chicago from 2011-2016. Consistently in search of new musical pathways through ensemble work, Austin has collaborated with a wide range of musical voices, from artists like Deerhoof and Julia Holter, to Miguel Zenon and Billy Childs, or Brian Ferneyhough and Kaija Saariaho. Furthermore, he has also been a guest artist with groups such as Eighth Blackbird, and the Chicago Symphony Orchestra’s MusicNow Ensemble. His debut solo release Diligence Is to Magic as Progress Is to Flight was released in 2014 in collaboration with bassoonist/composer Katherine Young. Austin holds degrees from the University of Michigan and Northwestern University, as well as having held fellowships at the Aspen Music Festival and Lucerne Academy. Austin serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Called “wholesome-looking” by the New York Times, violist John Pickford Richards has gained a reputation for performing new and unusual music around the globe. He was a founding member of the ensemble Alarm Will Sound, and has appeared with artists including Björk and Grizzly Bear and has performed as soloist with the Pasadena Symphony, Armenian Philharmonic, Wordless Music Orchestra, OSSIA, and with the Lucerne Festival Academy Orchestra playing the solo part to Luciano Berio’s Chemins II under the direction of Pierre Boulez. He holds degrees from the Interlochen Arts Academy and Eastman School of Music where his primary teachers were David Holland and John Graham. John serves on the faculty of the Mannes School of Music, where JACK is Quartet in Residence.
Cellist Jay Campbell has been recognized around the world for approaching both old and new works with equally probing curiosity and emotional commitment. His performances have been described as “brilliant and insatiably inquisitive”, “electrifying”, and “prodigious” by the New York Times, and “gentle, poignant, and deeply moving” by the Washington Post. A recipient of the prestigious Avery Fisher Career Grant, Jay performed with the New York Philharmonic in 2013 and was a curator for the New York Philharmonic’s 2016 Biennale. He has soloed in major venues around the globe including Carnegie Hall’s Stern Auditorium, Avery Fisher Hall, and Lucerne’s KKL and performed recitals in Carnegie’s Weill
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