DOCSLIB.ORG

TOTAL MUSIC MEETING 2000 - 2008 International Artists Festival of Improvised Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TOTAL MUSIC MEETING 2000 - 2008 International Artists Festival of Improvised Music TOTAL MUSIC MEETING 2000 - 2008 International Artists Festival of Improvised Music CONCERTS of Artists contributing (in alphabetical order) Name Instrument Country TMM-Year of Performance Sophie Agnel piano France TMM 2007 Boris Aljinovic actor/speaker w/ KÜÖ Germany TMM 2003 Armand Angster cl, bcl, cbcl France TMM 2001, 2004, 2006 Serge Baghdassarians e-g, live electronics Germany TMM 2000, 2002 Boris Baltschun e-g, live electronics Germany TMM 2000, 2002 Richard Barrett sampl. keyboard, electr England/Germany TMM 2005, 2008 Irena Bart-Greiner soprano Germany TMM 2003, 2004 Johannes Bauer trombone Germany TMM 2000, 2002, 2004 Konrad Bauer trombone Germany TMM 2001, 2002 Matthias Bauer double-bass Germany TMM 2007 Carlos Bechegas picc fl, alto-, C-soprano Portugal TMM 2002 Han Bennink dr, perc The Netherlands TMM 2004 Tiziana Bertoncini violin Italy TMM 2002 Lucas Böttcher digital media Germany TMM 2007 Gerard Bouwhuis p, keyboard The Netherlands TMM 2005 Alberto Braida piano Italy TMM 2001, 2004 Peter Brötzmann reeds Germany TMM 2000 Jerome Bryerton dr, perc USA TMM 2002 Tony Buck dr, live electronics Australia/Germany TMM 2000 John Butcher reeds England TMM 2005 Jesus Canneloni reeds Germany TMM 2005 Rüdiger Carl cl, acc Germany TMM 2000, 2001 Carlo Caratelli harpsichord Italy TMM 2004 Andrea Carlon double-bass Italy TMM 2004 Lawrence Casserley computer processing England TMM 2007 Thomas Castro visuals/design image The Netherlands TMM 2005 Tomek Choloniewski perc Poland TMM 2008 Günter Christmann cello, tb Germany TMM 2002, 2003 Melissa Coleman cello Australia/Austria TMM 2006 Alvin Curran TransDadaExpress USA/Italy TMM 2008 Werner Dafeldecker double-bass Austria TMM 2007 Rhodri Davis harp England TMM 2001 Umberto de Nigris tb Italy TMM 2004 Amora de Swardt violin South Africa/Austria TMM 2006 Jacques Demièrre piano Switzerland TMM 2005, 2006 Dietmar Diesner reeds Germany TMM 2003 DJ Ilvibe turntables Germany TMM 2005 Axel Dörner trumpet Germany TMM 2000, 2001, 2005 Hamid Drake dr, perc USA TMM 2006 Jean-Pierre Drouet dr, perc France TMM 2003 Gerd Dudek reeds Germany TMM 2005, 2008 Maya Dunietz piano Israel TMM 2007 Isabelle Duthoit cl, voice France TMM 2006 Sarah B. Eckel action painting Germany TMM 2008 John Edwards double-bass England TMM 2003, 2007, 2008 Lisle Ellis b, sampling Canada TMM 2005 Huib Emmer live electronics The Netherlands TMM 2005 Ensemble Laboratorio Novamusica Itally TMM 2004 Peter Evans trumpet USA TMM 2008 Simon H. Fell b, b-g England TMM 2001 Christian Fennesz computer The Netherlands TMM 2000 Ilich Fenzi trumpet Italy TMM 2004 Agustí Fernández piano Spain TMM 2001 Jean-Marc Foltz clarinets France TMM 2006 Wolfgang Fuchs c-bcl, bcl, ssi Germany TMM 2000-2004, 2006, 2007 Peter Gallo dr, perc Italy TMM 2004 Carlos Galvez-Taroncher bcl Spain TMM 2005 Vinko Globokar trombone, alphorn France/Germany TMM 2003 Katja Götz performance Germany TMM 2004 Vinny Golia reeds USA TMM 2004 Georg Graewe piano Germany TMM 2003, 2006 Kontakt/Veranstalter: Helma Schleif | FMP FREE MUSIC PRODUCTION Distribution & Communication e.K. | Förderverein für Improvisierte Musik (FIM) e.V. Markgraf-Albrecht-Str. 14 | 10711 Berlin |Tel. +49 30 323 75 26 | Fax +49 30 324 94 31 | [email protected] | www.free-music-production.de | www.fmp-online.de TOTAL MUSIC MEETING 2000 - 2008 International Artists Festival of Improvised Music page 2 Frank Gratkowski reeds Germany TMM 2003, 2006 Fernando Grillo double-bass Italy TMM 2003 Wolfgang Güttler double-bass Germany TMM 2007 Ulrich Gumpert piano Germany TMM 2001, 2003 Barry Guy double-bass England TMM 2002 Hans-Joachim Hespos comp, conducting Germany TMM 2004, 2005 Hauke Heumann performance Germany TMM 2004 Michiko Hirayama voice Japan/Italy TMM 2006 Gregor Hotz reeds Switzerland/Germany TMM 2000 Charlotte Hug viola, voice Switzerland TMM 2007 Miho Iwata dance/performance Japan/Poland TMM 2008 Urs Jaeggi Wortmacher Switzerland/Germany TMM 2003, 2004 Uli Jenneßen dr, perc Germany TMM 2001 Sven-Ake Johansson dr, perc, acc, voice Sweden/Germany TMM 2001 Sylvain Kassap clarinets France TMM 2006 Willi Kellers dr Germany TMM 2007, 2008 DD Kern dr, perc Austria TMM 2006 Kent Kessler double-bass USA TMM 2006 Ronit Kirchman violin USA TMM 2003, 2008 Hans Koch reeds Switzerland TMM 2004 Elaine Koene viola Scotland/Austria TMM 2006 Frank Köllges dr Germany TMM 2005 Aleks Kolkowski violin, live electronics England/Germany TMM 2000 Peter Kowald double-bass Germany TMM 2000 Uwe Kropinski acc g Germany TMM 2002 Françoise Kubler voice France TMM 2001, 2007 Almut Kühne voice Germany TMM 2006 Wolfgang Lackerschmid vibraphone Germany TMM 2005 Anne LeBaron harp USA TMM 2003, 2006 Lê Quan Ninh perc France TMM 2008 Thomas Lehn analogue synthesizer Germany TMM 2000, 2002, 2005, 2007 Urs Leimgruber reeds Schweiz TMM 2005 George Lewis tb, Midi Synth USA TMM 2001 Joanna Lewis violin Australien/Austria TMM 2006 Adam Linson double-bass England/Germany TMM 2008 Giancarlo Locatelli clarinets Italy TMM 2001 Paul Lovens dr, perc Germany TMM 2001, 2002 Markus Lüpertz piano Germany TMM 2005 Paul Lytton dr, perc, live electronics England/Belgium TMM 2002, 2003, 2006, 2008 Rudi Mahall bcl Germany TMM 2001 Radu Malfatti trombone Austria TMM 2003 Giovanni Mancuso piano Italy TMM 2004 Piergabriele Mancuso viola Italy TMM 2004 Elio Martusciello electro-acoustic devices Italy TMM 2002 Magda Mayas piano Germany TMM 2005, 2006 Misha Mengelberg piano The Netherlands TMM 2004 Phil Minton voice England TMM 2003, 2006 Luca Miti piano, sound objects Italy TMM 2006 Louis Moholo-Moholo dr, perc SA/England TMM 2004, 2007, 2008 Butch Morris conduction USA TMM 2004 Ali Reza Mortazavi santur Iran TMM 2007 Mohammad R. Mortazavi tombak, daf Iran/Germany TMM 2005, 2007 David Moss dr, perc, voice USA/Germany TMM 2007 Sainkho Namtchylak voice Tuva/Germany TMM 2006 Dimitri Nieuwenhuizen visuals/design image The Netherlands TMM 2005 Alex Nowitz voice Germany TMM 2006 Koen Nutters double-bass The Netherlands TMM 2005 Paul Obermayer sampl. keyboard, electr England/D TMM 2005 Morton J. Olsen dr, perc Norwegen/Niederlande TMM 2005 Mauro Orselli dr, perc Italy TMM 2006 Tony Oxley dr, perc England/Germany TMM 2001, 2002, 2003, 2005 Evan Parker sopranosax, tenorsax England TMM 2002, 2005, 2007, 2008 Kontakt/Veranstalter: Helma Schleif | FMP FREE MUSIC PRODUCTION Distribution & Communication e.K. | Förderverein für Improvisierte Musik (FIM) e.V. Markgraf-Albrecht-Str. 14 | 10711 Berlin |Tel. +49 30 323 75 26 | Fax +49 30 324 94 31 | [email protected] | www.free-music-production.de | www.fmp-online.de TOTAL MUSIC MEETING 2000 - 2008 International Artists Festival of Improvised Music page 3 William Parker double-bass USA TMM 2006 Anthony Pateras prepared piano Australien TMM 2008 Ernst-Ludwig Petrowsky reeds Germany TMM 2000, 2001 Barre Phillips double-bass USA/F TMM 2005 Paul Plimley piano Kanada TMM 2004 Melvyn Poore tuba England/Germany TMM 2003 Gert-Jan Prins live electronics The Netherlands TMM 2000 Hans Reichel g, e-g, daxophone Germany TMM 2001, 2006 Gino Robair dr, perc, live electr. USA TMM 2005 Jan Roder double-bass Germany TMM 2001 Paul Rogers double-bass England/France TMM 2006 Harold Rubin clarinet Israel TMM 2007 Olaf Rupp a-g, e-g Germany TMM 2000 Paul Rutherford trombone England TMM 2006 Farhan Sabbagh oud, perc Syria/Germany TMM 2003 Joe Sachse e-g Germany TMM 2002 Peter Sandkaulen g Germany TMM 2005 Lisa Scheibner actress Germany TMM 2004 Lars Scherzberg reeds Germany TMM 2000 Manfred Schoof trumpet Germany TMM 2005, 2008 Bärbel Schwarz performance Germany TMM 2004 Irène Schweizer piano Switzerland TMM 2004 Ariel Shibolet sopransax Israel TMM 2007 Carrie Shull reeds USA/Austria TMM 2006 Alan Silva keyboards, synth USA/F TMM 2004 Damon Smith double-bass USA TMM 2002 Wadada Leo Smith trumpet USA TMM 2005 Günter ´Baby´ Sommer dr, perc Germany TMM 2001, 2005, 2007, 2008 Harry Sparnaay bcl The Netherlands TMM 2004 Fabrizio Spera dr, live electronics Italy TMM 2000, 2002, 2005 Ulrik Spies perc Germany TMM 2004, 2005 Strawalde live action painting Germany TMM 2007 Aki Takase piano Japan/Germany TMM 2000, 2001 Cecil Taylor piano, poetry USA TMM 2001, 2002, 2003, 2005 Richard Teitelbaum p, live electronics USA TMM 2003 Pat Thomas p, live electronics England TMM 2003 Julie Tippett voice England TMM 2007, 2008 Keith Tippett piano England TMM 2007, 2008 Achim Trampenau dr Germany TMM 2000 Bertram Turetzky double-bass USA TMM 2003, 2004 Roger Turner drumset, perc England TMM 2002, 2004 Kazuhisa Uchihashi g, g-synth, daxophone Japan/Austria TMM 2006 Peter van Bergen reeds The Netherlands TMM 2000, 2003, 2004, 2005 Edwin van der Heide computer The Netherlands TMM 2005 Fred Van Hove piano, harpsichord, acc Belgium TMM 2000, 2004, 2006, 2008 Cecilia Vendrasco flutes Italy TMM 2004 Luca Venitucci piano, sampler Italy TMM 2002 Alexander Schlippenbach piano Germany TMM 2000, 2002 Philipp Wachsmann violin, live electronics England TMM 2003, 2008 Mark Wastell cello England TMM 2001 Wu Wei sheng, erhu, bawu, xun China/Germany TMM 2002 Michael Wilhelmi piano Germany TMM 2006 Joe Williamson double-bass Germany TMM 2000 Frank Wollny e-b Germany TMM 2005 Xu Fengxia guzheng, voice China/Germany TMM 2002 Carlos Zingaro violin, live electronics Portugal TMM 2001 Kontakt/Veranstalter: Helma Schleif | FMP FREE MUSIC PRODUCTION Distribution & Communication e.K. | Förderverein für Improvisierte Musik (FIM) e.V. Markgraf-Albrecht-Str. 14 | 10711 Berlin |Tel. +49 30 323 75 26 | Fax +49 30 324 94 31 | [email protected] | www.free-music-production.de | www.fmp-online.de.
Load more

Recommended publications
  • Printcatalog Realdeal 3 DO
    DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive.
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [Show full text]
  • A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
    A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
    [Show full text]
  • Audio ART Festiwal2000
    Stowarzyszenie Artystyczne Muzyka Centrum Goethe-Institute Kraków m u z y k a koncerty b e z instalacje g r a n i c AUdio ART performance FEStiwaLw w w . a2000 u d i o a r t . z . p l 11 LISTOPADA, 18:00, SYNAGOGA ul. Szeroka EVAN PARKER (Londyn) saksofon EVAN PARKER EVAN PARKER Born Bristol, 5 April 1944; Tenor and soprano saxophones. Urodzony Bristol, 5 kwiecieñ 1944; bieg i sopranu saksofony. Evan Parker started to play (alto) saxophone around the age of Evan Parker zaczynany bawiæ siê (alt) saksofon dooko³a wieku 14, being particularly interested in the music of Paul Desmond. 14, bêd¹cego szczególnie zainteresowanego w muzyce Paul At 16 he started to play the soprano saxophone and there fol- Desmond. Przy 16 on zaczyna³ siê graæ sopranu saksofon i tam lowed a period where he concentrated on soprano only, influ- nastêpowaæ okres gdzie on koncentrowa³ siê na sopranie tylko, enced by John Coltrane. Following his undergraduate studies at wp³ywany przez John Coltrane. Nastêpuj¹cy jego student studiuje Birmingham University, he moved to London and, in late 1966/ przy Birmingham Uniwersytecie, on rusza³ siê do Londynu i, w early 1967 began playing in the Spontaneous Music Ensemble pónym 1966 / wczenie 1967 zaczyna³ grê w Spontanicznym (SME) who, at that time, along with Parker, comprised John Muzyki Zespole (SME) kto, w tamtym czasie, wzd³u¿ z Parker, Stevens, Kenny Wheeler, Paul Rutherford, Trevor Watts and Derek zawiera³ John Stevens, Kenny Konia dyszlowy, Paul Ruterford, Bailey. The regular venue for these sessions was the Little Thea- Trevor Waty i Derek Mur zamku.
    [Show full text]
  • Julyissuesingle.Pdf
    The Independent Journal ofCreative Improvised Music cadence Vol 38 No3 JUL AUG SEP 2012 The New York City Jazz Record EXCLUSIVE CONTENT ON JAZZ & IMPROVISED MUSIC IN NEW YORK CITY COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD www.nycjazzrecord.com Cadence The Independent Journal of Creative Improvised Music July - August - September 2012 ABBREVIATIONS USED Vol. 38 No. 3 (401) IN CADENCE Cadence ISSN01626973 is published quarterly online acc: accordion and annually in print by as: alto sax Cadence Media LLC, bari s : baritone sax P.O. Box 282, Richland, OR 97870 b cl: bass clarinet bs: bass sax PH 315-289-1444 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Copy Editors: Kara D. Rusch, Jeffrey D. Todd flt: flute Transcriptions: Colin Haney, Paul Rogers, Rogers Word Fr hn: French horn Services g: guitar Art Director: Alex Haney hca: harmonica Crosswords: Ava Haney Martin kybd: keyboards Promotion and Publicity: Tiffany Rozee ldr: leader Advisory Committee: ob: oboe Jeanette Stewart org: organ Colin Haney perc: percussion Robert D. Rusch p: piano Abe Goldstein pic: piccolo rds: reeds ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and ss: soprano sax Discover accepted. sop: sopranino sax POSTMASTER: Send address change to Cadence Magazine, P.O. synth: synthesizer Box 282, Richland, OR 97870 ts: tenor sax © Copyright 2012 Cadence Magazine tbn: trombone Published by Cadence Media, LLC.
    [Show full text]
  • George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International Jazz News Jazz Stories
    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC George Benson Charlie Haden Dave Holland William Hooker Jane Monheit Steve Swallow CD Reviews International jazz news jazz stories Volume 39 Number 4 Oct Nov Dec 2013 More than 50 concerts in venues all around Seattle Keith Jarrett, Gary Peacock, & Jack DeJohnette • Brad Mehldau Charles Lloyd Group w/ Bill Frisell • Dave Douglas Quintet • The Bad Plus Philip Glass • Ken Vandermark • Paal Nilssen-Love • Nicole Mitchell Bill Frisell’s Big Sur Quintet • Wayne Horvitz • Mat Maneri SFJAZZ Collective • John Medeski • Paul Kikuchi • McTuff Cuong Vu • B’shnorkestra • Beth Fleenor Workshop Ensemble Peter Brötzmann • Industrial Revelation and many more... October 1 - November 17, 2013 Buy tickets now at www.earshot.org 206-547-6763 Charles Lloyd photo by Dorothy Darr “Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah aughan.V Leslie Lewis’ vocals are complimented perfectly by her husband, Gerard Hagen ...” JAZZ TIMES MAGAZINE “...the background she brings contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. Lewis comes across as a mature artist.” CADENCE MAGAZINE “Leslie Lewis & Gerard Hagen in New York” is the latest recording by jazz vocalist Leslie Lewis and her husband pianist Gerard Hagen. While they were in New York to perform at the Lehman College Jazz Festival the opportunity to record presented itself.
    [Show full text]
  • Johannes Bauer
    Johannes Bauer Discography | Diskographie 15.03.2019 2019 – 03 Zlatko Kaucic – Diversity Not Two Records, MW 969-2 Not Two Records, MW 969-2 Zlatko Kaučič – Ground Drums, Percussion Johannes Bauer – Trombone CD#5 »MED-ANA« 1. Med-Ana – 11:34 / 2. Med-Ana – 3:34 / 3. Med-Ana – 8:21 / 4. Med-Ana – 8:52 / 5. Med-Ana – 2:53 / 6. Šmartno Suita – 23:55 Tracks 1 to 5 – Recorded at Medana “Old Movie Theatre” on September 15, 2012. Track 6 – Recorded at Brda Contemporary Music Festival, Italy on September 13, 2014. 5 CDs in single printed paper-sleeves housed in a sturdy cardboard box-set with a magnetic locking. Contains a 12-page booklet with an interview, line-ups, liner notes and photographs. Only CD #5 with Johannes. 2018 – 01 Jeb Bishop, Matthias Müller, Matthias Muche – Konzert für Hannes Not Two Records, MW 961-2 Jeb Bishop – trombone Matthias Müller – trombone Matthias Muche – trombone 1. 07:39 / 2. 06:07 / 3. 09:03 / 4. 07.59 / 5. 07:40 / 6. 07:09 Recorded live at Stadtgarten Köln on May 5th 2016 Tribut Recording Johannes Bauer Discography 2 | 44 2017 – 01 Johannes Bauer / Peter Broetzmann – Blue City Trost Records, TR155 Peter Brötzmann: tenor & alt sax, tarogato, b-flat clarinet Johannes Bauer: trombone 1 Name That Thing 28:42 2 Blue City 5:11 3 Poppy Cock 15:25 4 Heard And Seen 14:05 5 Hot Mess 6:10 Mastered By – Martin Siewer, Photography – Philippe Renaud Live at Blue City Osaka / Japan 16. October 1997 2014 – 02 Barry Guy New Orchestra Small Formations – Mad Dogs On The Loose Not Two Records , MW925-2, 4 × CD, Album Barry Guy bass
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Potter, Keith. 1978. ‘Review of The Music Improvisation Company 1968-1971 (Derek Bailey, Hugh Davies, Jamie Muir, Evan Parker), Tony Oxley: February Papers (David Bournee, Ian Brighton, Barry Guy, Tony Oxley, Philipp Wachsmann), Evan Parker: Saxophone Solos, Duo: Derek Bailey, Tristan Honsinger, Barry Guy: Statements V-XI for Double Bass and Violone, Company 3 (Derek Bailey, Han Bennick), Company 4 (Derek Bailey, Steve Lacy), and Company 5 (Derek Bailey, Anthony Braxton, Tristan Honsinger, Steve Lacy, Evan Parker, Maarten van Regteren Altena, Leo Smith)’. Contact, 19. pp. 32-37. ISSN 0308-5066. ! The upsurge of activity and the 'higher profile' of Bedrest as its title may imply, is more relaxed in parts, improvised music point to more than just its indisputable while the first piece on Side Two is even somewhat value as a form of music-making in its own right. (And 'programmatic' (at least in retrospect: apparently it wasn't anyway, there's not enough space here to state a case deliberate), being something to do with a water rat which is which improvisers themselves have long since ceased to 'imitated' in the music. (This, by the way, is more lifelike thn feel needs to be stated every time improvisation is they perhaps realised: my cat-who, I may say, doesn't like mentioned.) This, in the immediate context of the present improvised music -couldn't take it at all ... )In the Victim's review, is the most important thing. So I'm not in any way Absence, the final track, is presumably some kind of denigrating improvisation as an independent and valid requiem for it .
    [Show full text]
  • Eg Phd, Mphil, Dclinpsychol
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Secret Gardeners: An Ethnography of Improvised Music in Berlin (2012-13) Tom Arthurs PhD Music The University of Edinburgh 2015 Abstract This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, ‘difficult’ and idiosyncratic artform.
    [Show full text]
  • Festival R De Choc Musiques Improvisées
    Festival R de Choc musiques improvisées 6 et 7 juillet 2007 Espace Jemmapes Paris 10 Sommaire Page 3 .....................................Présentation Page 4......................................Programme Page 5.....................................Biographie Steve Beresford (piano & jouets) Page 12...................................Biographie Jean Bordé (contrebasse) Page 13...................................Biographie Michel Doneda (saxophone soprano) Page 14...................................Biographie Simon H. Fell (contrebasse) Page 17...................................Biographie Bertrand Gauguet (saxophones alto et soprano) Page 18...................................Biographie HarS (dictaphone) Page 19...................................Biographie Pascal Marzan (guitare) Page 21..................................Biographie John Russel (guitare) Page 22...................................Biographie Roger Turner (batterie) Page 23....................................Biographie Dan Warburton (violon) Page 25...................................Biographie Pierre Mansire (Plasticien Lumière) Présentation Le festival « R de Choc » est dédié aux musiques improvisées. La première édition de ce festival réunit des musiciens anglais, pionniers et stars de l'improvisation libre comme le multi-instrumentiste compositeur et arrangeur Steve Beresford, le batteur percussionniste Roger Turner, le guitariste John Russel et le contrebassiste et compositeur Simon H. Fell . Il sont rejoints par Dan Warburton, violoniste et compositeur anglais vivant à Paris,
    [Show full text]
  • Artofimprovisers Catalogue 01.Pdf
    In Art of Improvisers Group Show, at Cafe Oto’s Project Space, from 7 to 17 of May 2015, we presented the art and archives of some of the pioneers of free improvisation in London. The exhibition featured content by musicians and artists Terry Day (artwork), Evan Parker (collages), Steve Beresford (archives), George Khan (clothes), David Toop (archives), Max Eastley (installation), Gina Southgate (paintings), a film by Anne Bean (Taps) and extracts of the upcoming film Unpredictable by Blanca Regina. The programme included a talk with live painted timeline about the history of free improvisation in UK, with speakers Steve Beresford, Evan Parker and Terry Day. Gina Southgate and Blanca Regina were painting the timeline. There were also two workshops: Material Studies with Matthias Kispert and Blanca Regina and Techniques in playing balloons and making pipes with Terry Day. Visual arts and music are intimately connected. Many musicians are also visual artists: that is what caught our attention. We wanted to know more about it. We focussed on these connections and the archives and exhibition looked at how one practice feeds into the other. Free improvisation is present in everyday life, not just in the arts. In the exhibition we worked together, transforming the space and selecting the artwork, in many cases framing it. Its interesting how we and some of our ideas shift when the medium changes. We ourselves were transformed through the process of the encounter and from working with the artworks. The point was to get together and to discover more about each others’ practice, and the history and present day situation for free improvisation and art in London.
    [Show full text]
  • Evan Parker Electro-Acoustic Ensemble the Eleventh Hour
    ECM Evan Parker Electro-Acoustic Ensemble The Eleventh Hour Evan Parker: soprano saxophone, voice; Philipp Wachsmann: violin, live electronics; Paul Lytton: percussion, live electronics; Agustí Fernandez: piano, prepared piano; Adam Linson: double-bass; Lawrence Casserley: signal processing instrument, percussion, voice; Joel Ryan: sample and signal processing; Walter Prati: computer processing; Richard Barrett, Paul Obermayer: sampling keyboards, live electronics; Marco Vecchi: sound projection ECM 1924 CD 6024 987 0854 (5) Release: August 29, 2005 “The Eleventh Hour” is the fourth ECM album by Evan Parker’s Electro-Acoustic Ensemble, the group formed by the English saxophonist in 1992 to explore the nexus of free improvisation and real time sound processing. The hour-long title piece was developed in response to a commission from Glasgow’s Centre for Contemporary Arts and premiered as the culmination of CCA’s “Free RadICCAls” concert-and-workshop series in November 2004. Over the course of a week Parker rehearsed his expanded 11-piece ensemble, refining and adjusting the new piece, and each evening the ensemble members played in different semi-ad hoc combinations. On the first night, November 3rd, Parker played one of his extraordinary soprano saxophone improvisations which was subjected to the spontaneous electronic and electro-acoustic modifications of Lawrence Casserley, Joel Ryan and Walter Prati. Working with the depth of the sound as well as with transformations of Parker’s musical material, these three scientist-composers helped create a piece of vast dimension, sculpting the space in which this improvisation was heard. Now titled “Shadow Play”, this sub-group improvisation opens the present disc.
    [Show full text]