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NNN: Ïðåäëàãàþ ñþäà ñáðàñûâàòü èíôîðìàöèþ îá àâàíãàðäíûõ êîíòðàáàñèñòàõ, à òàêæå îáñóæäàòü ïðîáëåìû â ñîâðåìåííîé ìóçûêå. Çäåñü ìîæíî ïîñëóøàòü: Ñòð. 1 Henry Grimes - Live at the Kerava Jazz Festival 2004 Ñòð.2 MARK DRESSER - BANQUET (1995) WILLIAM PARKER feat. LEENA CONQUEST - Raining on the moon - ñêà÷àòü Ñòð.3 Alan Silva - Alan Silva (äæàçêëóá NoNaMe) Matthew Shipp duo with William Parker - DNA Dave Holland & Barre Phillips "MUSIC FROM TWO BASSES" (1971) Ñòð.4 Joelle Leandre - Solo bass Live at otis, Hiroshima peter kowald with barre phillips Ñòð 5 joelle leandre,danielle roger - tricotage (les tricoteuse) Ñòð. 6 william parker - testimony william parker, hamid drake - piercing the veil anthony braxton & john lindberg - six duets Còð.7 Joelle Leandre, William Parker - Contrabasses joelle leandre - urban bass
NNN: mit Erika Winkler, Sigrid Tanghe, Alexander Frangenheim(Kontrabaß), Peter Jacquemyn (Kontrabaß) , Ingo Reulecke, Geraldo Si foto: Dennis Scharlau "...movement ist the origin; dance is movement line is fixed movement sound is transposed movement.."
NNN: ß âäðóã îáðàòèëà âíèìàíèå íà òî, ÷òî ó ìîåé òåìû äîâîëüíî âûñîêèé ðåéòèíã
NNN: The project of the late Peter Kowald called "Global Village" had a rebirth in Muenster at the Klangzeit Festival. Listen to Barre Phillips-bass, Gunda Gottschalk-violin, Le Quan Ninh-perc and Xu Fengxia-guzheng and voice
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NNN: Mark Helias Fictionary 1998 Recorded live at the 1995 Groningen Jazz Festival* and the 1996 Nijmegen Music Meeting. Mark Helias, bass; Mike Sarin, drums; Tom Rainey, drums*; Ellery Eskelin, tenor saxophone; Mark Feldman, violin http://torrents.ru/forum/viewtopic.php?t=1818825
NNN: Slava Ganelin & Vladimir Volkov Ne Slyshno 2007 http://torrents.ru/forum/viewtopic.php?t=1635859
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timon: ïðÿì òàêè ãèïíîòè÷åñêîå ñîëî, æàëü çàïèñü îáðûâàåòñÿ..
NNN: ýòî ñîëî èç ôèëüìà î Êîâàëüäå. Òàì íà ïîëìèíóòû áîëüøå))))))))
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timon: NNN ïèøåò: ýòî ñîëî èç ôèëüìà î Êîâàëüäå. NNN à ãäå ýòîò ôèëüì ìîæíî öåëèêîì ïîñìîòðåòü?
NNN: Peter Kowald Chicago Improvisations video http://torrents.ru/forum/viewtopic.php?t=1214514
NNN: Barry Guy in Vilnius, 2009 By Al ⋅ May 2, 2009 ⋅ ⋅ commentellen Barry Guy with Maxim Micheliov, following the concert in Lithuania. ______________________________________ Barry Guy’s visit to Vilnius was a long awaited event, planned and discussed for months among us — music fans from the club “Thelonious”. The concert: Barry Guy & Mats Gustafsson together with Lithuanian musicians was carried out on January 11th, 2009 to celebrate a double release featuring Mats on our new label NoBusiness Records. The acquaintance with Barry promised to be a memorable musical and humanitarian adventure. And so it was. Barry Guy seems to be one of the most convincing figures in a long row of contemporary innovators - those few whose discoveries possess everlasting value. That possibly answers why his music is so much more than merely enjoyable. Listening to Barry Guy’s recordings often pushes one’s mind into speculations about general ways of music, its historical perspective and the future. Being a diverse improviser, a performer of exceptional technique, an accomplished composer and a big band leader, this artist has amazed me by the scope of his interests and variety of accomplishments ever since I was introduced to his music. Preparations kept us busy during weeks preceding the performance. I listened to a lot of music, read interviews with Barry trying to decide if yet another one was needed. The meeting at Vilnius airport dispelled my doubts. Both Barry and Maya Homburger appeared to be youthful people, charged with energy and positivism, interested in communication. It was a short but eventful visit crowned by a glorious performance at St. Kotryna Church. Barry Guy played solo, in duo with Mats Gustafsson, and in a sextet with Mats and musicians from Vilnius. The performance was recorded and is scheduled for release from NoBusiness Records. ___________________________________ Maxim Micheliov: Barry, you are a rare example of a musician who feels equally at home in classical (baroque) and so called “new music”. But I wonder whether classical training is useful or even essential for an improviser? Barry Guy: Perhaps [I'm] an unusual case of being a musician equally at home in baroque, classical, contemporary and improvised musics. As such I feel fortunate and I enjoy the disciplines that each offers, but of course this situation is not for everybody, and indeed not every musician has had a good fortune to receive such a rich musical education. So your question concerning the usefulness of classical training for improvisers is somewhat speculative in the sense that many musicians have thrilled us with their music without a classical foundation. In my case I think it has helped because a sound technique has allowed the analytical and creative aspects to operate unhindered by technical restrictions. Having said that, none of us is foolproof so there is always the mountain to climb. Expanding and refining one’s language is the driver for continuity. Each of us has to find our own direction according to what we have been given or what we find. M.M.: How would you describe your music in terms of style? Who do you consider your “predecessors” or greatest inspirations? B.G.: Within creative music I’ve never thought of “style” as such. My musical vocabulary is built upon my contacts with like minded players and composers. I inhabit musical areas loosely known as free Jazz, Improvised music, new music - all inadequate terms to describe a vast variety of musical communication and for me the word “communication” represents the focus of my endeavors. Inspiration has come from many quarters and this should not to be thought of as plagiarism. Inspiration for me implies lessons that open up channels of thought and ultimately testing the hypothesis. Monteverdi, Bach, Beethoven, Biber, Xenakis, Bartok, Shostakovich and Mingus are composers that have inspired me with their sonic architecture. And what an important last word that is - the structure of music, buildings, paintings and text all offer us ideas which challenge us to dig deep into ourselves. Most bassists of my generation have huge respect for Gary Peacock and Scott La Faro — two players that re-defined what pizzicato was all about. But you know, we cannot play like them — they are unique. But what we learn are the possibilities that are open to us. We take on the idea of space, fluency, construction, but not the pitches — these are special to those people. I am inspired by Charles Mingus for his daring to break away from routine models and create passion in his music. Now my greatest inspiration comes from the musicians that I make music with — it’s an ongoing love affair. M.M.: Is there a fundamental difference when composing music for big orchestras, small groups and solo performance? B.G.: Well, firstly and obviously there are different degrees of scale in terms of the ensemble size. The art of composition assesses each situation and proposes a structure appropriate to the formation and importantly, the players. The thorough composed input has to be balanced with the improvisational goals, so it is safe to say that the larger ensemble generally demands more organization, unless of course the group plays without composed elements, which is equally valid. My goal has always been to provide music that engages the players and allows the individual maximum freedom within the context of defined material. M.M.: What are the basic principles behind an improvising orchestra (here I mean the set of musicians / instruments)? B.G.: As far as I am aware there are no basic principles concerning the instrumentation — it is purely a matter for the organizer or the collective to decide who plays. My preference was for an orchestra that approximated existing or historical big bands, mainly because I had an interest in writing for a “classical” well-tried format but changing the way in which the ensemble was used. M.M.: How did you come up with an idea to put together a big orchestra? How was the London Jazz Composers Orchestra born? B.G.: The LJCO was formed because of my desire to celebrate the picturesque musical life I was leading at the beginning of the seventies in England. I brought together lots of the musicians I had been working with across a fairly wide spectrum of improvised music and to make some sense of this powerhouse of creativity I envisaged an extended composition that moved and flexed with the improvisers’ aspirations. The extended composition was called “ODE”, consisting of seven sections that would feature all of the musicians of the LJCO in one scenario or another. My composition professor at the Guildhall School of Musicl, Buxton Orr, conducted the first performance and continued to direct for about ten years after that. The excitement of the final result filled me with energy and enthusiasm to embark upon other projects. The realization of “ODE” was difficult and often contentious with many musicians having to deal with time/space notation, plus improvising. The fact that we got a recording made me realize that the human spirit is indeed resilient. M.M.: London Jazz Composers Orchestra — why “Jazz” and why “Composers”? B.G.: You will recall that there existed the Jazz Composers Orchestra in the U.S. in the late 60’s/70’s. Mike Mantler wrote some original scores which interested me because my own writing method accorded with his presentation of the music — basically a time/space notation. In a rather naive way I hoped that there would be a future collaboration between large ensembles, so I called my formation the London Jazz Composers Orchestra to honor the existence of the American counterpart. The name seemed appropriate because the orchestra was made up of jazz/ improvising musicians and composition represented the structural spine. Over the years of LJCO existence the amount of composed material varied greatly which was as I had hoped. No rules were laid down, although I guided the ensemble towards a format of composition and improvisation rather than a totally improvised format. “Nasca Lines” excerpt | composed June 2001 M.M.: You have mentioned “time/space notation” a couple of times. May I ask you to tell about that in more detail? B.G.: This way of notating music allows a certain flexibility in the delivery of musical information. Simply put, measures or bars can be fixed by chronological time rather than metronomic beats, and within this time period (space) events can be delineated. These events can take on more precise articulations or can be improvisational. Imagine the goal posts in football. Between these vertical posts the player can judge where the football should land — just inside, towards the center, perhaps central. The music can be visually laid out to suggest the positioning of a note or phrase within the external limits of the bar lines or goal posts. Time/space notation appears in many forms — each composer having a different objective. It just happens that a certain freedom away from the “tyranny of the bar line” occurs and is particularly suited to music that has improvised elements. __________________________ For it relevancy to the discussion, Barry gave us permission to excerpt from the article “Freedom In Restraint,” by Kees Stevens, in the interest of highlighting some of the goals behind the LJCO. “There are three periods to distinguish in the 25 year-old history of the LJCO. At the beginning the music scores were very detailed. They also worked with a conductor, Buxton Orr, Guy’s composition teacher. Due to the constant refinement on the compositional side and radical abstraction, Guy alienated musicians from himself. For example Bailey left the orchestra because he absolutely could not feel at home with such an approach. In the second period he invited his fellow musicians to write pieces for the orchestra. Kenny Wheeler, Rutherford, Riley and Oxley delivered contributions. The orchestra also played a piece by conductor Orr, whilst in the repertoire of that period there was also a piece which Penderecki had written for the Globe Unity Orchestra. That repertoire offered a broad spectrum of complete,written scores, through the looser ones from Rutherford to the more graphic ones of Tony Oxley. Furthermore, the ‘orchestra’s composers’ saw the business from the other side. The decision to drop the conductor marked the third phase of the orchestra. According to Guy an orchestra with a conductor causes you to write for an orchestra with a conductor, and he wanted to get away from that. He advocated a looser approach, in which a few directions are sufficient and the musicians are responsible for taking initiative. He was very aware that a working method of that sort could not be achieved in a few years, but the construction of the orchestra has barely changed in the last ten years, so that everybody knows what they can expect from each other. There are still meticulously notated passages. That;’s how he, for example, will work out riffs, but in contrast to the orchestra’s first period, the result heard is more supple, more natural.” __________________________ M.M.: Please tell about balance between composition and improvisation in your music, particularly for bigger ensembles. Do you think there can exist an “ideal ratio” between two approaches? B.G.: I work hard at imagining how improvisation and composition can co-exist together. I try to “re-invent the wheel” when a new piece is envisaged since all circumstances are different. So there is no immediate solution nor any “ideal ratio” or balance that can be replicated. Every large ensemble piece poses new problems — not unlike designing a house for a client. I take on board the various parameters, and doggedly work away until a sense of structure emerges that best reflects the aspirations of the ensemble. The musicians come first. M.M.: What other orchestras work in the same genre as LJCO? B.G.: Every large ensemble is guided by its players and composers. I have my own methods which will be different from others. So it is difficult to speak about the same genre except to say that any “searching” orchestra will have similar objectives and that is to provide a platform for the improvisers’ art. M.M.: Large jazz orchestras seem to be a rare phenomenon these days. Is it mainly because of economic factors? B.G.: Economic factors obviously play an important role in the continuity of any large ensemble. The big band “era” as such is long passed, but it has in fact been quite heartening that musicians have got together and continue to do so to research and perform large group music. Concerts are infrequent, but most countries possess a few lively spirits, that allow the medium to survive. The technical facility of many young players and their awareness of musical genres has been gratifying. There is a future for improvised music in the large ensemble I think. M.M.: Please tell about “freedom” in free music. As a composer what do you think about striving for absolute spontaneity? B.G.: I am a composer and an improviser that can operate with the most rigorous written music and the totally free context. Being creative is my main objective and being aware of one’s colleagues active in the art of playing music is a priority. Hopefully spontaneity will result from a lot of performing and a discipline behind the endeavors. Absolute spontaneity? I can only say that we must always be ready to react. M.M.: Can “non-idiomatic improvisation” — proposed by Derek Bailey — still be regarded as “music”? B.G.: I have never understood “non-idiomatic music” as proposed by Derek Bailey. One definition of idiomatic is “characteristic of a particular language” and as far as I can understand it, improvisers are involved in a language, a communication. There are of course different dialects, not all compatible, but nevertheless there exists a potential for understanding. An idiom is a form of expression peculiar to a language, person or group of people, so to think that successful music can be made by abandoning the core principals seems to me somewhat dilettantish. Derek’s phrase has been often quoted as a revolutionary principle. In fact i think it was thrown in to the improvising arena as a taunt to musicians who abided by a set of principles that included continuity and self-development in their individual practices. The phrase also to my mind represented a contradiction since Derek himself continued to develop quite systematically his playing methods. Idiomatic even… M.M.: Composed or written music is often perceived as an “antidote” to free improvisation. While there are doubts whether that is correct I’d like to ask your opinion on the following: can performing/interpreting somebody’s music be compared with making it on the fly in terms of the required amount of creativity and enjoyment? B.G.: I personally enjoy the challenge of interpreting music — different disciplines are called for. Naturally, the creative aspect represents a smaller percentage of the overall commitment, but other factors compensate, not least the reward of getting “inside” a composer’s music. M.M.: The ability to improvise has seemingly became a creativity standard for any modern musician. Is domination of improvisation a some sort of cultural trend or real necessity in genesis of European-American culture? B.G.: The ability to create music through improvisation represents a kind of liberation of thought and action. Paul Lytton has often taught aspects of improvisation to business people who are very often locked into a methodology. Discipline is also important, so I hope that improvisation — and it can come in many forms — will establish itself within the consciousness of all stratum of culture and society. M.M.: What tendencies in your opinion sound the most promising? B.G.: I really cannot read the future. Only hope is a currency that can be circulated, and musical survival is at the mercy of many contingencies. As I said earlier, the young voices will represent a continuum but it may be different from what we have been involved in. It’s a short answer here. M.M.: What do you think about Jazz in XXI? Is Jazz “dead”? B.G.: 21-st century Jazz? Many of the old guard are still active and there are musicians out in the world that possess great technique and imagination. We can hope (I say this word again) that there is a continuity of ambition and realization to keep the momentum going. It is for sure that the popular media will not help in disseminating the music. Many times the “Jazz is dead” mantra has been pronounced. We uttered the same words many years ago and it will be reiterated many more times. It’s a kind of protection to justify a new direction. It is in one way correct but in another way not so. The diversity of improvised music will be the key to the future, but it may not fall under the classification of “Jazz”, but then again some music will. M.M.: Can we expect great developments in modern classical music? B.G.: I am not really in a position to comment upon this since my knowledge is limited as to the latest manifestations in modern “E” music. I read of names that occupy journalists’ and critics’ faculties but maybe my own busy musical life has kept me a little distant from the latest trends. I am sure, however, that there are exciting things happening out there. M.M.: How did you meet Mats [Gustafsson]? B.G.: That was solo in ‘92 in Stockholm. I think that’s the answer you need, and the rest is history. M.M.: Your musical backgrounds and personalities seem very different but you achieve perfect harmony and understanding. How does it work? How does a spontaneous acquaintance develop into a long term work relationship? B.G.: We both love good music in general and performing in particular. We seem to possess the same energy levels which feeds our curiosity and excitement of creating a musical dialogue. M.M.: Please tell us about your collaboration with Lithuanian musicians. B.G.: It is always interesting to meet a new group of musicians. On the occasion of my meeting with Lithuanian musicians it was pleasurable to note that the language of improvisation resides powerfully in many parts of the world. Our collaboration had all of the attributes of informed and creative musicians. Listening to the recording of our collaboration re-affirms why we so enjoy being part of this world music. M.M.: Did you have any expectations coming to play in Vilnius and were they met? B.G.: Mats Gustafsson informed me prior to my visit that I would enjoy the project. He was correct and needless to say, the hospitality and support was impressive. The Lithuanian musicians were friendly, aware and creative — a really fine combination. M.M.: What are your plans for the near future, and do they include creating more orchestral music and further experiments in this direction? B.G.: Plans are many and cover a wide area of music. Currently I am re-writing “Radio Rondo” for the Barry Guy New Orchestra — the piece of course was composed for Irene Schweizer and the LJCO. Also for the BGNO I will write a piece that features Maya Hamburger with the guys — a tricky balancing act matching the fragile baroque violin with heavyweight saxophones, brass and percussion. Fascinating nonetheless. For our duo I will compose a series of seven pieces that will be generated out of the work of New York artist Elana Gutmann with the first performance slated for February 2010. We will then record a new duo album. Also in 2010 there will be two unusual projects — one for the Vancouver Festival, a collaboration with animator Michel Gagné, and improvising musicians will be premiered. Also I have been commissioned to provide a set of musical interventions into the opera “Dido and Aeneas” by Henry Purcell, using improvising and baroque musicians. ____ That’s quite a lot to be getting on with. ~ 11 JAN 2009, 12 FEB 2009 * photos courtesy of Dmitrij Matvejev and Alan Jones Ìàòåðèàë âçÿò http://www.bagatellen.com/?p=2334
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NNN: íà âòîðîé ìèíóòå Ìàðê Äðåññåð
NNN: Jason Roebke & Thomas Morgan Live at Shibuya Koen-dori Classics, Tokyo / 16th Jan. 2009 / êîíöåïòóàëèñòû
NNN: JOELLE LEANDRE & AKOSH S . DUO
ïîëíàÿ âåðñèÿ ñòðàíèöû