Axel Doerner Trumpet Phil Wachsmann Violine
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time. -
ACTIVE SINCE 1994, the KEUNE/RUSSELL DUO HAS BEEN EXPLORING Quartet for a Tour in 1993.To Join His New Ways of COMMUNICATION for ALMOST a DECADE
GUITARIST JOHN RUSSELL ACTIVE SINCE 1994, THE KEUNE/RUSSELL DUO HAS BEEN EXPLORING quartet for a tour in 1993.to join his new ways OF COMMUNICATION FOR ALMOST A DECADE. A year later they were playing their first SOPRANINO SAXOPHONE AND UNAMPLIFIED ACOUSTIC GUITAR concert as a duo. Their combination of strikes CONTACT [email protected] the ear has having a highly distinctive sound. Their approach to FREE IMPROVISATION stems from the legacy PHONE/FAX of the British scene with a special nod to John Stevens´ Spontaneous Music Ensemble. ++49/208/66 88 75 The duo explores subtle relations between sounds, touching on both the quiet and loud to evoke a WIDE SPECTRUM OF COLOURS AND EMOTIONS. Their music evokes Derek Bailey, Roger Smith or Evan Parker, but it remains their own. Their commitment to freely improvised music stems from a shared belief that this is the best way for them to make and develop their music. The unit performs regularly since 1997 and has toured in Europe (England, Germany) and Japan. It has performed at the Freedom of the City Festival 2003. The duo took form after the German SAXOPHONIST (sopranino and alto) 2 CDs chronicle their association: Excerpts and Offerings on Acta (2001) and Frequency of Use on STEFAN KEUNE asked the English NURNICHTNUR (2003). Both have met with critical acclaim. Text: François Couture Fotos: Jean-Michel van Schouwburg GUITARIST JOHN RUSSELL ACTIVE SINCE 1994, THE KEUNE/RUSSELL DUO HAS BEEN EXPLORING quartet for a tour in 1993.to join his new ways OF COMMUNICATION FOR ALMOST A DECADE. -
Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof. -
About Jazz New York
July 2010 | No. 99 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com KARL BERGER FREEdom In dIscIpLInE JAZZ NEWHOMEGROWN YORK’S ONLY GAZETTE Rufus Reid • John Butcher • NoBusiness • Event Calendar Welcome to AllAboutJazz-New York. This may sound strange after 98 issues and over eight years but you can tell from our new logo that something is different. With this issue, one shy of our Centennial, we are announcing our formal New York@Night separation from the All About Jazz.com website. From now on, we are a 4 completely independent entity (check us out online at aaj-ny.com). What does this mean for you, our valued readers? Not to worry...we will continue to bring you Interview: Rufus Reid the best that New York City has to offer its jazz fans. AllAboutJazz-New York will 6 by Ken Dryden still have its award-nominated feature coverage, slew of timely CD reviews and an Event Calendar matched by no one. And this new arrangement will allow us to Artist Feature: John Butcher expand our mission and better serve the city’s jazz community, the thing that has 7 by Stuart Broomer kept us going for so long. To that end, this month’s issue - which also can be used to fan yourself during On The Cover: Karl Berger the balmy summer days - features articles on vibraphonist/pianist/organizer Karl 9 by Martin Longley Berger (On the Cover), who curates The Stone this month and appears with Encore: Lest We Forget: various groups; ubiquitous bassist extraordinaire Rufus Reid (Interview) who leads his own trio for a weekend at The Kitano and adventurous and experimental 10 Herb Jeffries Illinois Jacquet saxophonist John Butcher (Artist Feature), appearing as part of the Whitney by Marcia Hillman by Donald Elfman Museum’s Christian Marclay: Festival as well as a couple of forays into Brooklyn. -
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 -
2001 Inside the Narrative
John Butcher: inside the narrative by Rhodri Davies Published in Avant magazine (March 2001) When I was approached to write this article I worried over the risk of being too near the subject matter, having worked with Butcher in Chris Burn's Ensemble. But, since the personal factor is a vital part of music making, my hope is to shed light on Butcher's work that may not be obvious from the outside. Butcher began playing saxophone while studying physics at university. Since completing his doctorate in the early 80s he has been principally dedicated to improvisation, performing with many seminal groups including Derek Bailey's Company, Polwechsel and The Phil Minton Quartet. He also runs the highly regarded Acta label, which boasts discs of a consistently high quality. Among the catalogue is a gem of a recording - A New Distance by The Spontaneous Music Ensemble, which captures the group's last recorded concert. The late John Stevens loved Butcher's playing and invited him to join what became the final version of the SME in ’92. Butcher holds his time with Stevens in high esteem. He says, "John Stevens was a very strong character, an amazing proselytiser and arguer. With some people you know you're really playing for real. There's no casualness about it, it's a lifetime's activity. You don't just come out for the weekend to play a bit of music." Like Stevens, this seriousness of intent informs all of Butcher's performances, every concert pertaining a weighty importance. The first time I saw him play was in a duo with the pianist Veryan Weston at Dolly Fossets, Kentish Town in July Conway Hall, London, 1994 by Z.V. -
2018 Building a Jazz Library
John Butcher By JOHN EYLES November 9, 2018 17,211 Views In the Building a Jazz Library article on Evan Parker, it says that seasoned Parker followers would describe him as the finest improvising saxophonist of his generation. Curiously, many of those same people would use exactly that phrase about John Butcher. The simple explanation for this apparent contradiction is that we are talking about two generations; Parker (born 1944) is a member of the "first generation of free improvisation" (along with Derek Bailey, Tony Oxley, John Stevens, Paul Rutherford, Barry Guy...) whereas Butcher (born 1954) is from the second generation (along with the similarly-aged Chris Burn, Phil Durrant, John Russell, Alan Wilkinson...) This is well illustrated by their discographies; Parker's first recording, Challenge (Eyemark), was released in 1966, while Butcher's first, Fonetiks (Bead)—a duo with Burn—came out in 1984. One reason for Butcher's first disc being released when he was slightly older is that after he had graduated with a B.Sc. in Physics from Surrey University he then studied for and obtained a doctorate in Theoretical Physics, before focussing on music. Although they are easy to tell apart, Butcher and Parker have a number of things in common; they both play tenor or soprano saxophone; they are the only saxophonists to have performed at Company Week, been a member of the Spontaneous Music Ensemble and the London Improvisers Orchestra, and been a guest player with AMM. In addition, each of them (alone or with others) has been responsible for setting up two independent record labels to release their music, in Parker's case Incus (1970 to 1985) and Psi (2001 onwards), in Butcher's case Acta (1988 to 2001) and Weight of Wax (2004 onwards). -
Call for Adventurous Musicians!
Call for adventurous musicians! IOU is seeking up to 10 wind instrumentalists (wood and brass instruments), to volunteer to work with Netherlands- based composer and musician Yannis Kyriakides, and acclaimed saxophonist John Butcher, to present a rare live performance of ‘Vortex’, a piece composed especially to accompany IOU Theatre’s Speaking Tubes installation, soon to be exhibited at 20-21 Visual Arts Centre, Scunthorpe. Proficient musicians need to be available to take part in performances at 20-21, on Saturday 11 May 2019 and for the rehearsal periods (listed below). The selected musicians will be performing in front of a ticketed audience and it is anticipated that the project will receive significant press interest. The performance will take place within IOU’s extraordinary, gleaming steel installation and musicians will be required to move around the installation whilst playing. The piece will be 40-60 minutes long and blend the instrumentation with electronic manipulation of sound within in a contemporary musical approach. If you are selected, this is an unparalleled opportunity for you to gain experience working with a prominent and highly respected international musicians together with one of the UK’s most adventurous theatre and arts companies. You will gain experience performing experimental, innovative music, within an extraordinary sound installation. Key dates (all at 20-21 Visual Arts Centre): 6 April to 6 July 2019 – IOU Speaking Tubes exhibition on display at 20-21 Visual Arts Centre Thursday 9 May- 4:30pm to 7:30pm – Workshop/ Rehearsal sessions 1 Friday 10 May 4:30pm to 7:30pm – Workshop/ Rehearsal session 2 Saturday 11 May – 1-3pm Dress-rehearsal, 4pm/7pm Public performances (each 40-60mins) Rehearsal times and any rehearsals prior to the dates above will be confirmed once the musicians are chosen. -
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. -
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, -
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.