Showing posts with label Fundacja Słuchaj. Show all posts
Showing posts with label Fundacja Słuchaj. Show all posts

Friday, March 25, 2022

Gordoa / Malfon / Edwards / Narvesen - Substantial Myths (2022 Fundacja Słuchaj)

The most promising vibraphone virtuoso Emilio Gordoa collects an excellent quartet with such fantastic young colleagues Dag Magnus Narvesen and Don Malfon and legendary iconic bass player John Edwards. They presented their music first time at the Artacts Festival in St. Johann in Tirol. Now this great performance is available on CD.

1. Old Tannery Part. One 21:21
2. Old Tannery Part Two 26:42

Emilio Gordoa - vibraphone
Don Malfon - alto & baritone saxophone
John Edwards - double bass
Dag Magnus Narvesen - drums

All music by Emilio Gordoa, Don Malfon, John Edwards & Dag Magnus Narvesen.

Recorded by Markus Massinger and Charles Wienand on March 16th, 2019 at Alte Gerberei / Artacts Festival in St. Johann in Tirol, Austria.
Mixed and Mastered by Emilio Gordoa.
Graphic Design: Piotr Biegański
Executive Producer: Maciej Karłowski

Wednesday, March 16, 2022

Sjostrom / Casserley / Florodos / De Joode / Kujala / Narvesen / Taramontana / Schiaffini / Wachsmann and others - SoundScapes # 3 FESTIVAL MUNICH - 2021 SchwereReiter (March 26, 2022 Fundacja Słuchaj)

Ulrich Habersetzer (BR-KLASSIK)

14 musicians from nine different countries went on a sound journey directed only by their own musical fantasy, no borders – except one, more about that later.

The venue, the newly built „Schwere Reiter“ in Munich, is perfect for this: clear acoustics, clear architecture.

In the middle of the covid pandemic, in a short time when concerts were possible, such an intense and open exchange could happen, two days in a row, on October 1st and 2nd 2021 – a stroke of luck. A music that moves, stimulates, perhaps upsets, has been recorded there.

The Berlin based saxophone player Harri Sjöström, born in Finland, is the creator of these collaborations and he named them „SoundScapes“: Landscapes of Sounds. It started as a concert series in Berlin in 2013. In 2016 and 2018 “SoundScapes Festivals” happened in Helsinki and now the third one took place in Munich in 2021.

People with open and curious ears can move around in this scenery of sounds. You can walk through a tender braid of notes from a trombone and a violin, embracing each other.

You can marvel at tiny tone dots from a guitar and a quartertone accordion, expanded by soft electronic sound pieces. You can get carried away by the pull created by two drums and a vibraphone. Or you can be amazed by a piano dancing freely to floating frequencies from different wind instruments.

The concept of „SoundScapes“ says that all players are involved at the first and the last part of the two day festival. All other sections have line-ups from duo to quintet, hand-picked by Harri Sjöström and agreed with all the members. There’s only one limit: each performance should not last longer than 15 Minutes.

This might be seen as a harsh breaking of the rules of free improvisation, but in this case it’s also a stroke of luck! There are no timewasting settle ins, no soloistic ego trips, no lengths. Only with great togetherness and space-giving respect can such a dense but open music be created.

This recording was edited very little, no instrumental constellation has been left out. It shows the whole path through the landscapes of sounds that Harri Sjöström and his great associates have walked during these two festival nights. A music that opens doors and stretches rooms. Insert, listen, get involved! 

1. 1.1. SoundScapes - Opening Night Tutti Orchestra 15:36
2. 1.2. The Player Is #1 Kalima, Heather, Mureddu 06:43
3. 1.3. The Player Is #2 Gordoa, De Joode, Schiaffini, Wachsmann 10:51
4. 1.4. The Player Is #3 Kujala, Sjöström 08:09
5. 1.5. The Player Is #4 Floridis, Schiaffini 09:10
6. 1.6. The Player Is #5 Casserley, Gordoa, Heather, Narvesen 14:26
7. 1.7. The Player Is #6 Tramontana, Wachsmann 13:08
8. 2.1. The Player Is #7 De Joode, Narvesen, Tramontana, Sjöström, Wachsmann 08:32
9. 2.2. The Player Is #8 Bauer, Floridis, De Joode, Schiaffini, Tramontana 06:32
10. 2.3. The Player Is #9 Casserley, Mureddu, Sjöström, Wachsmann 12:30
11. 2.4. The Player Is #10 Gordoa, Schiaffini 11:02
12. 2.5. The Player Is #11 Bauer, Floridis, Heather, 11:06
13. 2.6. The Player Is #12 Casserley, Kalima, Kujala 13:33
14. 2.7. SoundScapes - Silence To Sound, Tutti Orchestra 10:44

Matthias Bauer – double bass
Lawrence Casserley – signal processing instrument
Floros Floridis – bass clarinet & clarinet
Emilio Gordoa – vibraphone
Steve Heather – drums & percussion
Wilbert De Joode – double bass
Kalle Kalima – guitar
Veli Kujala –1/4 tone accordion
Libero Mureddu – piano
Dag Magnus Narvesen – drums & percussion
Giancarlo Schiaffini - trombone
Harri Sjöström – soprano, sopranino, alto saxophone
Sebastiano Tramontana – trombone
Philipp Wachsmann – violine & electronics

Credits:
Live concerts on 1st – 2nd October 2021 recorded by Bayerische Rundfunk at Schwere Reiter, Munich, Germany
Sound engineer: Frank Sattler and Marc Hoffmann
Sound technicians: Andreas Leis and Jürgen Schmid
Stage light & sound technicians: SchwereReiter technical crew: Zoro Babel & team
Mixing & mastering: Frank Sattler
Production assistant: Rita Mbeba
Live concert recording producer: Ulrich Habersetzer

Photos: single portraits by Cristina Marx/photomusix
Photos: group photos by Luciano Rossetti
Cover design: SEMAFOR
Executive producer: Maciej Karłowski

SoundScapes # 3 - Festival in Munich was organized & realised in cooperation with Hannes Schneider - Offene Ohren e. V., and recorded at Schwere Reiter (Scope – Spielraum für Aktuelle Musik, Christiane Böhnke-Geisse)
Artistic direction and concept: Harri Sjöström

SAMO SALAMON & NEW FREEQUESTRA - Free Distance, Vol. 2: Poems are Opening (March 2022 Fundacja Słuchaj)

During the first lockdown of the Covid era in spring 2020 my creative fire was still burning. All concerts were cancelled, but I still wanted to play and improvise. That's were the idea for long-distance improvisation came up. I sent emails to some of my friends and other musicians who I admired and hoped that they might be interested in doing such a project.

I'm really happy that some of the best improvisers in Europe were happy to participate in this project. I'm such a fan of all these players, they are monster improvisers, composers and bandleaders on their own as well. All tracks are completely improvised or could be even described as structured improvisation. Musicians sent me their tracks, based on an initial improvisation by myself. Then I cut, mixed and blended the music to actually make music. It was an incredibly fun project and challenge!

The title of the album and all the compositions are based on two poems by the great US poet E.E. Cummings, since poetry is my other artistic love and obsession.

1. 1.1. all in green 05:40
2. 1.2. went my love rifing 08:52
3. 1.3. on a great horse of love 04:18
4. 1.4. into the silver down 05:32
5. 1.5. for lean hounds 05:46
6. 1.6. crowched low 08:06
7. 1.7 and smiling 05:08
8. 1.8. the merry deer 04:04
9. 1.9. run before 06:12
10. 1.10. fleeter be they than dappled dreams 04:32
11. 2.1 roasetree 04:06
12. 2.2 you're the song to see 07:16
13. 2.3. whose all 09:18
14. 2.4 you're the sight to sing 03:34
15. 2.5. poems are opening 06:30
16. 2.6. as if 05:20
17. 2.7 and earth was playing 08:26
18. 2.8. at birthday 09:02
19. 2.9. each 04:04
20. 2.10. a whish no bigger 06:04

NEW FREEQUESTRA (Italy / Portugal / Slovenia / Spain / Sweden / Switzerland):

Emanuele Marsico – trumpet (CD 1 - 6,7,9; CD 2 – 5,7,8)
Alberto Mandarini - trumpet (CD 1 - 6,9; CD 2 – 5,8)
Mirko Cisilino – trumpet (CD 1 - 9; CD 2 - 3)
Luis Vicente – trumpet (CD 1 - 1,7,8,10; CD 2 – 1,6,7)
Emanuele Parrini – violin (CD 1 - 2,4,6,8; CD 2 – 5,6,8,9)
Marco Colonna – baritone and sopranino sax (CD 1 - 2,4,6; CD 2 – 3,4,5,7,8,10)
Achille Succi – alto sax and bass clarinet (CD 1 - 2,4,6,7,8; CD 2 – 2-10)
Albert Cirera – sax (CD 1 - 4,5,6,8; CD 2 – 7,8,9)
Fredrik Ljungkvist – sax (CD 1 - 4,6; CD 2 – 6,8)
Christoph Irniger – sax (CD 1 - 4,8)
Alberto Pinton – sax (CD 1 - 1; CD 2 - 4)
Beppe Scardino – sax (CD 1 - 2; CD 2 – 2,4,7)
Martin Küchen – sax (CD 1 - 3)
Samo Salamon – guitar (CD 1 - 3,4,6; CD 2 – 2,4,7,8,9)
Marcelo dos Reis – guitar (CD 1 - 1,7,8; CD 2 – 1,6)
Silvia Bolognesi – bass (CD 1 - 2,5; CD 2 - 2)
Vasco Trilla – drums (CD 1 - 4,6; CD 2 – 5,8)

All music improvised by the Freequestra. Mixed and mastered by Samo Salamon.
Liner Notes: Samo Salamon
Photo by Janin Vezonik
Graphic Design: Piotr Biegański
Executive producer: Maciej Karłowski

Friday, January 21, 2022

Jordina Millà & Barry Guy - String Fables (January 21, 2022 Fundacja Słuchaj)

A true music lover typically has dreams that their favorite musicians, who do not normally work one with another, will meet and perform together. I had a dream many years ago that the two Giants of contemporary improvised music, Joëlle Léandre and Barry Guy play a double bass duo together. And my dream became true at the 2017 Ad Libitum in Warsaw in Festival, and was released by Fundacja Słuchaj! on a phenomenal 3 CDs box “Blue Horizon ● Barry Guy@70”. Here is another dream realized by Fundacja Słuchaj! – on “String Fables” Barry Guy encounters Jordina Millà.

Barry has a long experience working in piano trios and piano bass duos: from Howard Riley Trio in the 1960s, through Ithaca Trio with Marilyn Crispell and Paul Lytton, to Aurora Trio with Agustí Fernández and Ramón López, or more recent trio with the phenomenal Japanese pianist, Izumi Kimura and Gerry Hemingway, also on Fundacja Słuchaj!.

The most impressive piano-bass duo of recent years are with Agustí Fernández, who is, in a sense, a mentor of Jordina. They both play improvised piano, they both played prepared piano, they both oscillate between abstraction and lyricism – yet the music of Jordina is completely different, completely original and absolutely not comparable to anything else. When I first listened to her debut album “Males herbes” (Sirulita), I wrote on the Facebook: "I experienced today a birth of a star, better to say a supernova.” Indeed, Jordina grew up to become a legendary figure of Catalan scene immediately. Her way of tuning abstraction to sound lyrical is absolutely unique and uncompromising. In this sense she is an ideal partner to Barry, whose approach to the lyrical side of life is similar. Both of them can be extremely lyrical, sad and melancholic without any simplicity and any loss of abstract complexity.

String Fables is a masterpiece presentation of the joint concept of this music: lyrical abstraction/abstract lyricism. For me, this is one of the most beautiful piano-bass records of the century!" Maciej Lewenstein

1. String Fables 9,14
2. Nuc 4,01
3. Duna 6,07
4. Decodification 10,00
5. Agora 7, 49
6. Quart creixent 2,45
7. Plithorikós 7,05
8. Essential Sonances 12,41
Total Time: 59,41

Jordina Millà - piano
Barry Guy - bass

Recorded July 16th 2021 Studio Rosazul, Barcelona
Mixing & Mastering by Ferran Conangla at FCM Studio, Barcelona

Photos: Barry Guy by Francesca Pfeffer, Jordina Millà by Aina Lesan
Liner notes: Maciej Lewenstein
Cover Design: SEMAFOR
Executive Producer: Maciej Karłowski

Barry Guy plays exclusively on Thomastik Strings

Satoko Fujii & Joe Fonda - Thread Of Light (January 21, 2022 Fundacja Słuchaj)

I became acquainted to Joe Fonda’s musical creativity in 1998, precisely on November 6th at a concert of the Fonda/Stevens Group at Bunker Ulmenwall in Bielefeld, Germany. Along with some friends, I was curating the club‘s jazz program since 1996 at that time. After the enthralling show in 1998 Joe was a frequent artist at our club as his music was immensely inspiring - full of enthusiasm and playfulness. On November 8th 2003 there was Satoko Fujii Quartet playing a show in Bielefeld. On this evening an enduring friendship with Satoko Fujii and Natsuki Tamura began to develop. I go to know two wonderful artists as well as human beings and – what I did not know at that time – two of the most thrilling and versatile musicians in the jazz scene.

Both Satoko and Joe, have been touring Europe separately in many different group selections over and over again. ...And while attending a duo-concert of Joe Fonda with guzheng playing musician Xu Feng Xia, I got the idea of also bringing Satoko and Joe together – at least for one musical (live) encounter. It worked out and since then they both have played together not only as a duo but in numerous projects with changing players. They also began recording together or taping live shows. Focussing on their duo output, their first duo-record „Duet“ was released in 2015. Natsuki Tamura was joining on some compositions as well as on the „Mizu“ album in 2017. The aptly named „Four“ was released in 2019.

Now it is 2021, and The Thread of Light was recorded during the Corona-pandemic separately in their distant homes in Kobe and New York and put together for release. It is featuring fantastic music full of inspiration and optimism for a time after the pandemic. Musical pieces full of power and emotions reflecting anger, anxiety and sorrow as well as a way out of it with their inherent musical energy. One can literally sense the leaves falling quietly down the tree before they got whirled up magically. Ease and Restlessness. Sunshine, Rain and Storm take it in turns. Yes, that’s the „Fallen-leaves-dance“. All ends up in broad confidence.

Extraordinary music for an extraordinary time. Wolfgang Gross , July 12, 2021 

1. Kochi 4:35
2. Fallen Leaves Dance 4:09
3. Reflection 9.00
4. Anticipating 5.44
5. My Song 3.18
6. Sekirei 2.52
7. Wind Sound 6.07
8. Winter Sunshine 2.17
9. Haru 4.29
10. Between Blue Sky and Cold Water 9.04

Satoko Fujii – piano
Joe Fonda – bass, cello, flute

All composed by Joe Fonda (GEMA) and Satoko Fujii, Koro Music (BMI) except #5 My Song by Joe Fonda and #8 Winter Sunshine by Satoko Fujii.

Satoko Fujii’s tracks were recorded by Fujii at her home in Kobe, Japan in January and February 2021.
Joe Fonda’s tracks were recorded by Greg DiCrosta
Mixed by Nick Lloyd
Mastered by Nick Lloyd
Liner Notes: Wolfgang Gross
Photo: David Wade
Cover Design: Piotr Biegański
Executive Producer: Maciej Karłowski
All Rights Reserved: Fundacja Słuchaj

Michael Bisio & Matthew Shipp Flow Of Everything (January 21, 2022 Fundacja Słuchaj)

Nothing says more than listing names of artists! Great bass virtuoso Michael Bisio and legendary piano wizard Matthew Shipp second time together. Let listen what is the flow of everything!

1. Flow 9.25
2. Bow For Everyone 6.18
3. Everything 2.35
4. Of Now 7.49
5. Of Everything 11.59
6. Go-Flow 5.25
7. Flow Of Everything 6.33
8. Pockets 7.05
9. Panel 5.56

Michael Bisio - bass
Matthew Shipp - piano

Engineer: Jim Clouse
Recorded, mixed and mastered April 5, 2021 at Park West Studios in Brooklyn, NY

All compositions Matthew Shipp (Matt Shipp Music ASCAP) and Michael Bisio (AMB Music ASCAP)

Photos: Achille Silipo, Jim Clouse
Cover Design: Piotr Biegański
Executive Producer: Maciej Karłowski
All Rights Reserved: Fundacja Słuchaj

Tuesday, November 30, 2021

FISH WOOL (feat. Susana Santos Silva / Yedo Gibbons / Vasco Trilla - Live In Cerkno (November 30, 2021 Fundacja Słuchaj)

1. Rainbow Trout 20:14
2. Huchen 12:25
3. Grayling 06:45
4. Northern Pike 13:10

Susana Santos Silva - trumpet
Yedo Gibson – tenor sax & soprano sax
Vasco Trilla – drums

Recorded by Marko Turel at the 24th Jazz Cerkno, 18th May 2018.
Mixed and mastered by El Pricto

All music by Susana Santos Silva, Yedo Gibson & Vasco Trilla

Graphic design: Anna Płotko
Executive Producer: Maciej Karłowski

Irek Wojtczak Band (Kapela Irka Wojtczaka) - Rom Tom Dada (November 30, 2021 Fundacja Słuchaj)

Cecil Taylor - Music From Two Continents (November 30, 2021 Fundacja Słuchaj)

In 1984 Cecil Taylor came to Poland for the second time. His first performance in Poland was in 1968 in Warsaw Philharmony where he presented a solo piano recital. After 16 years he returned to the Jazz Jamboree festival but that time with a large group of internationally acclaimed and most important improvisers on the free jazz scene. The lineup was incredible. Two great trumpeters one from Poland, Tomasz Stańko another from Italy, Enrico Rava. In the reed section, long time Cecil's collaborator, legendary altoist Jimmy Lyons with his wife bassoonist Karen, John Tchicai, Frank Wright Jr. on tenor saxophones, phenomenal trombonists Conrad Bauer, iconic vibraphone and bass clarinet player Gunter Hampel and finally a gorgeous rhythm section with Henry Martinez on drums and great William Parker.

Together they played for over one hour set of unbelievable, strong, and magnificent music in front of the hall lined to the brim. Here you have the whole Cecil Taylor concert with Music From Two Continents.

Includes unlimited streaming of Music From Two Continents via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

1. Music From Two Continents A 12:04
2. Music From Two Continents B 25:06
3. Music From Two Continents C 25:01

Full-length, legendary Cecil Taylor Orchestra concert from Jazz Jamboree 1984 feat. greatest names on American and European free jazz scene: Tomasz Stańko, Enrico Rava, Conrad Bauer - trombone, Jimmy Lyons - alto saxophone, Frank Wright Jr. - tenor saxophone, John Tchicai - tenor saxophone, Karen Lyons - bassoon, Günter Hampel - bass clarinet, vibraphone, William Parker - double bass, Henry Martinez - drums. Brilliantly recorded by Polish Radio.

1. Music From Two Continents 62.15 (on CD you received the whole set without any cuttings. On Bandcamp site for technical reasons music was divided to three parts)

Cecil Taylor – piano, leader
Tomasz Stańko - trumpet
Enrico Rava - trumpet
Conrad Bauer - trombone
Jimmy Lyons - alto saxophone
Frank Wright Jr. - tenor saxophone
John Tchicai - tenor saxophone
Karen Lyons - bassoon
Günter Hampel - bass clarinet, vibraphone
William Parker - double bass
Henry Martinez - drums

Recorded 26.10.1984 at Jazz Jamboree, Congress Hall PKiN, Warsaw, Poland by POLSKIE RADIO
Produced under the license of POLSKIE RADIO (Polish Radio) 2021

Mastered: 30.04.2021 by Grzegorz Piwkowski (Hi End Studio, Warsaw)
Photos: mirek makowski
Cover design. SEMAFOR
Executive Producer: Maciej Karłowski

Monday, November 22, 2021

Lebik / Edwards / Lovens - Lepomis Gibbosus (Fundacja Słuchaj)

They are sameïliar which means each one resembles the one before as well as the consecutive one as if they were the same. Perhaps they were all the same in a utopian past, or there was even only one of them – which must have been, then, identical. The sameïliarity they show holds that the same is always different. As a consequence, the difference is always the same. In other words: The variety in sameness is as real as the repetitions in the creation of difference. They are two sameïliar thrusts of existence, which means ... Philipp Schmickl

That afternoon we played one single long and continuous piece: that is the general way of working in freely improvised music. If we had played several smaller pieces, the beginning of each would have been different from what you hear here. A post-productional cutting-up gives you listener of this cd the wrong impression. This music needs to be listened to in one go (or would you have left the concert hall for a while ?), if not, you cannot follow the real-time process = the development of this collectively and instantly composed material (which - by the way - is one of our music’s main and unique qualities). Don’t dip into B, C, or D - you would miss most of our adventures: start at A and join us on our journey… Lo!

1. Lepomis Gibbosus 45:36

Gerard Lebik - tenor sax
John Edwards - double bass
Paul Lovens - drums

Recorded 23 of April 2015 at Lublin Jazz Festival
Recorded and Mixed by Marek Krupa
Mastered by Zopan
Photos by Maciej Rukasz
Graphic Design: Anna Płotko
Executive Producer: Maciej Karłowski

Tuesday, June 8, 2021

Cecil Taylor Ensemble - Göttingen (June 8, 2021 Fundacja Słuchaj)

Do you remember the legendary CD Legba Crossing released on FMP? Of course, you do! Each Cecil Taylor's music fan does it! Two years later Ove Volquartz assembled almost the same line-up and brought Cecil Taylor to Gottingen to work with the legendary artist longer and more intense. Here you have the whole monumental concert they gave on September 15th! What is the difference? Fundamental as always in the case of such great visionaries like Cecil was! Here, additionally, Mr. Taylor performs not only as a director and conductor but also as a full-time pianist!!!!!!! So let's discover what happened in 1990 at Junges Theater in Gottingen!!!!!

1. Set 1 - Part One (A) 14:41
2. Set 1 - Part One (B) 29:23
3. Set 1 - Part Two 28:23
4. Set 2 - Part One (A) 22:30
5. Set 2 - Part One (B) 21:03
6. Set 2 - Part Two 12:58
7. Encore 09:33

CD1:
01. Set 1 – Part One 44.04 (on download files divided into two parts A and B)
02. Set 1 – Part Two 28.24

CD2:
1. Set 2 – Part One 43.34 (on files divided into two parts A and B)
2. Set 2 – Part Two 12.58
3. Encore 9.33

Cecil Taylor Ensemble
Live at Junges Theater Göttingen Sept.15th, 1990

Cecil Taylor, piano, poetry, comp.
Tobias Netta, tp
Heinz-Erich Gödecke, tb
Joachim Gies, as,ss
Martin Speicher, as,bs
Ove Volquartz, ss,ts,bcl, cacl
Harald Kimmig, vi
Alexander Frangenheim, b
Uwe Martin, b
Georg Wolf, b
Kojo Samuels, perc,balafon,elephanthorn
Lukas Lindenmaier, dr
Peeter Uuskyla, dr

Recorded by Joachim Gückel
Cover Design: SEMAFOR
Executive Producer: Maciej Karłowski

Colonna / Miranda / Spera - N-EST (June 8, 2021 Fundacja Słuchaj)

Great Italian trio feat. Marco Colonna this time not only on clarinet but also bass clarinet, alto saxophone and flute and marvelous rhythm section Dario Miranda on bass and Fabrizio Spera on drums on his debut CD - N-EST.

1. Zamia 02:43
2. Aspen 07:00
3. Yucca 05:07
4. Taiki 04:50
5. Blues For Aida 05:27
6. Prunus 04:39
7. Naoki 03:50
8. Gelso 04:30
9. Soma 03:18
10. Elm 04:41
11. Dara 04:37

Marco Colonna clarinet, bass clarinet, alto sax, flute
Dario Miranda double bass
Fabrizio Spera drums

Recorded on May 21st and Mixed in September 2019
by Tommaso Cancellieri at Abbey Rocchi studios, Roma.

All music by Colonna, Miranda, Spera (SIAE) except track 5 by Steve Lacy.

Sunday, April 4, 2021

MOVE (feat. Sjöström / Kaufmann / Pultz Melbye / Narvesen / Gordoa) - MOVE in Moers (April 2021 Fundacja Słuchaj)

Album MOVE in MOERS was recorded at the legendary Moers Festival by a super-group of Harri Sjostrom on soprano saxophone, Achim Kaufmann on piano, Adam Pultz Melbye on double bass, Dag Magnus Narvesen on drums, and fantastic Emilio Gordoa on vibraphone. They play one set lasting 42 minutes and exploring all shades of contemporary free improvisation that from the beginning became an unbelievable magical music spectacle.

1. Move in Moers 42:08

Achim Kaufmann – piano
Adam Pultz Melbye – double bass
Dag Magnus Narvesen – drums
Emilio Gordoa – vibraphone
Harri Sjöström – soprano & sopranino saxophone

All music by Achim Kaufmann (GEMA), Dag Magnus Narvesen (TONO), Adam Pultz Melbye (KODA), Emilio Gordoa, Harri Sjöström (GEMA)

Live concert recorded by Moers Festival 8th June 2019
Sound engineer: Thomas Block
Mixing/mastering: Patrick Römer, Unisono Studio – Berlin

Produced by Harri Sjöström & Maciej Karłowski in co-op.
Executive Producer: Maciej Karłowski
Pre-order

Thomas Heberer / Joe Fonda / Joe Hertenstein - Remedy (April 2021 Fundacja Słuchaj)

When Europe headed to Covid-19 lockdown in March 2020, Joe Fonda and I were there with the Michael Musillami Quintet. Our concert tour was cut short, and we returned to NYC with no musical interactions for the next few months. Basically, we quarantined at home, particularly as our city became the epicenter of this health crisis.

In June, Fonda called me up. He had met my old friend and partner in crime from many gigs and recordings, drummer Joe Hertenstein, at a pre-pandemic event. Both had spoken about getting together and working on some new music at the time and were wondering if I’d be up for joining. With coronavirus cases dropping locally, it was the first time in a while that such an idea could be entertained.

We started playing together once a week, everybody bringing in tunes – making music and socializing a little, creating a space beyond the grim realities of our surroundings.

A routine started to take shape. Fonda would come down from his place in Washington Heights and pick me up on the Upper West Side. We then would drive, all masked up, to Brooklyn, where Hertenstein lived on Ocean Avenue in a spacious apartment. There we’d play. After our rehearsal, we’d take a slightly different route than on the way in, going through the Lower East Side, SoHo and West Village in Manhattan, each time on the lookout for signs of a re-emerging vibrancy. Beyond that, we always liked to stop by our favorite Swedish bakery on 14th Street for a loaf of their cranberry-rye bread and a cardamom bun – everybody needs a little treat from time to time.

In August, our drummer told us that he and his wife Daisy had decided to leave the US for Berlin, hoping to sit out the situation, and return once NYC got back to a “new normal.” We concluded that our music deserved to be documented; we literally recorded this album the day before Joe left town.

Very proud of the results. This will always serve as a reminder of an insane period in mid-2020, when our gatherings served as a Remedy that kept our bodies and minds together. Thomas Heberer
1. Closer You Are, the Further It Gets 10:01
2. For Wadada Leo Smith, Opus 2 06:03
3. Pink Umbrella-Panicballad 07:45
4. You Are There-Roadmap 616-James J. 12:27
5. Zebra 05:51
6. Fast #2 05:56
7. Wadada Leo Smith, Opus 1 07:57
8. Waltz for Daisy 04:56

Thomas Heberer - trumpet
Joe Fonda - bass, flute (track 7)
Joe Hertenstein - drums, percussion

tracks 1, 4a, 4b, 5 composed by Thomas Heberer (GEMA)
tracks 2, 4c, 6, 7 composed by Joe Fonda (GEMA)
tracks 3a, 3b, 8 composed by Joe Hertenstein (GEMA)

Recorded August 26, 2020, by Tom Tedesco, Tedesco Studios, Paramus, NJ
Mixed & mastered January 2021 by Jon Rosenberg, Brooklyn, NY

Joe Hertenstein plays Bosphorus cymbals exclusively

Evan Parker Electro-Acoustic Ensemble / Warszawa 2019 (April 2021 Fundacja Słuchaj)

From the opening strike of metallic percussion, the oscillator-like wave of soprano saxophone, the burble of electronics, a resonant piano bass string, the shimmering decay of a gong and the broad-toned brilliance of the trumpeter’s brief melody-then-feint-to-intermittent-oscillation, we are in the special ‒ spectral and material ‒ world of Evan Parker’s ElectroAcoustic Ensemble (EAE), a band over 50 years in the making, its official existence 30 years. It is, in an era-defining way, both a great moment in the history of late-20th century music and the early-21st century’s, a unique response to the notion of large-scale free improvisation that, rather than the cultish practice of a disaffected elite, is a signifying laboratory for human interaction, social, meditative, meaning-defining and edge-blurring, a forward probe in the necessity for calm that sees atheists going on pilgrimage, the tone-deaf joining choirs and an explosion in sales of fashions for fitness in which to sit around and drink coffee, no qualitative judgement here, all perhaps equally beneficial. It is a moment of collective definition, an episode of a group mind in which shared concentration gives meaning and form to shared time and space, the period of its making and its later listening.

This listening, I’m 19 minutes in, to a piece I’ve listened to perhaps 20 times, and I’m in a space I can’t recall hearing before, a space where a room’s locating echoes are sufficiently vast to suggest the distance between planets or solar systems, national economies or, for the cognoscenti, the musical instruments and appurtenances floating as a space station in a brown cosmos in Richard Jenning’s (aka “Prophet”) painting on the original 1961 release of Eric Dolphy’s Out There. There is nothing undemanding, jejune, simplistic, coddling, easy about this music. It asks just enough to challenge, and when you’ve met that reward, it asks just enough to challenge again, leading you into a world of increasing grandeur, intensity and, strangely, intimacy, like being alone in a room with Guernica, Des canyons aux étoiles or the Grand Canyon itself.

The EAE is one of the great bands of improvised music with a prehistory of over twenty years before it formed in 1992, and with a history of nearly thirty years since. In its later forms, it’s a big band; in its beginnings, a duo. Reflecting on this latest form, Parker remarks that only he and Paul Lytton are left from the original. That references the 1990s sextet of Toward the Margins (ECM) but it could suggest the 1969 Parker-Lytton duo, whose performances sometimes added previous performance tapes.

A notion of the double is essential. If there’s a clear parallel for the EAE, it’s Ornette Coleman’s Double Quartet of Free Jazz (1960), in which Coleman paired each member of his then-current quartet with a musician playing the same instrument. To create the EAE, Parker matched an electronic musician, each processing an individual signal, to the members of his trio with Lytton and bassist Barry Guy.

Each successive episode balanced the physical and the abstract, the acoustic and the electronic. Eventually, it would assume a global element. By 2010, an 18-member version appeared in a Lisbon concert. Earlier technologies were supplemented with other developments, including an Apple MacBook, as well as precursors, like a Stroh violin and an electric guitar.

Ancient instruments, a Japanese sho and a shakuhachi were also included. The original twinning reached its apotheosis in a kind of globalized, pan-temporal process of recording and reprocessing and rethinking, all in an essentially free-improvising big band in which sectional play and organization could also be perfect, live as Memorex, instruments picked up and processed in the instant.

In this latest incarnation, Parker and Lytton remain from the ensemble’s earliest days; the electronic duo of FURT, Richard Barrett and Paul Obermayer, have been present since 2007’s The Moment’s Energy, while clarinetist Peter van Bergen first appeared in 2010. They’re balanced by five recent arrivals: Adam Linson, bass and electronics; Matt Wright, laptop and turntable; Percy Pursglove, trumpet; Mark Nauseef, percussion; and Sten Sandell piano and synthesiser.

Usually adding to a band means adding more of the same thing. With the EAE, Parker has expanded relationships. As well as contributing their own material, the electronic musicians pick up the precise content of the acoustic improvisers, creating facsimiles and treating that material accordingly, adding essential quantitative levels, the literally recorded, to the process. If Parker once said with a special precision, “My roots are in my record player,” so too are the processes of the EAE. Ideas of the section, of call and response ‒ many of the components of the big band ‒ were translated into a form that contained both free improvisation and that transforming and transformative electronic unison. Quite wonderfully, Barrett, Obermayer and Wright have added music made out of Evan Parker records.

The spontaneous exchange of data with repetition and transformation connects the EAE to the great tradition of the jazz big band, specifically the riff culture of the early Count Basie band, a spontaneous phrase picked up, replicated, exchanged, multiplied, to assemble a piece of music out of the interconnected syndicates of brass, reeds and rhythm. Here it’s expanded to include synthesizers and samplers as modes of digital reproduction rather than the digital reproduction from ears to fingers on keys. The special time of the Basie band: it more fully occupied time than any of its orchestrated contemporaries, by its very appreciation of spontaneous creation.

As the piece continues to unfold, it becomes increasingly about the experience of sounds in space, sounds as they’re picked up, repeated, reimagined, redistributed. Eventually, it grows increasingly sparse, its components fewer and further apart, yet the sounds themselves more resonant, the space both opening and enriched in the process. These spatial relations have temporal consequences. Priority belongs to the immediate sound as it comes to the fore, occupying attention, attention as earworld, we are both in the process and in the sound, and the reverberations in space combine with those of time to create the collective composition, a collection of instants in time mixed together in the incipient moment, this music moving us closer and closer to its present.

Eventually our specific position in this space, so immediately pressing, loses its very particularity…it is the shared uniqueness of position that becomes the collective moment for musicians and audience alike, as well as the community of sounds themselves, which have become an entity, a pattern, that is both continuous with and distinct from the experience of the group. Resonance, an echo as continuity, stretches duration.

What is happening to time here? Sometimes individuals‒Parker, Pursglove, Sandell stand out‒will at times play very rapidly, at others very slowly, seemingly independently of one another and what is going on around them, later in the music particularly, amidst the multi-spatial echoes, the resonant hang of piano, percussion, gong. As the piece seems to spread out, especially in the final third, this cumulative effect of rapid and stretched music develops its special quality, a mutation in the perception of time: the way in which a listener experiences the present has stretched; the musicians become architects and engineers of time itself. Stuart Broomer
The ElectroAcoustic Ensemble was formed in 1990 as a sextet to explore the possibilities of real-time signal processing in an improvising context. and shortly became an opus magnum ensemble in the whole of Evan Parker's musical biography. Most of the CDs documenting the development of this exciting large ensemble were released by the legendary ECM label. The last time when EAE brought us its new CD titled Hasselt was nine years ago (PSI).
Now, after this very long period, we proudly announce the brand new Evan Parker Electro-Acoustic Ensemble is coming! Beautifully recorded two years ago on the Warsaw-based festival Ad Libitum by Kuba Sosulski and beautifully mixed by Fil Gomez and Evan Parker himself in the middle of 2020 at Arcobarco, Ramsgate, UK.
So let's listen and enjoying the ten pieces ensemble led by one of the greatest musicians in the world. Here comes WARSZAWA 2019

1. Warszawa 2019 part A 24:42
2. Warszawa 2019 Part B 33:58

Evan Parker - soprano
Matt Wright - laptop and turntable
Paul Lytton - percussion and analogue electronics
Richard Barrett - sampling keyboard
Paul Obermayer - sampling keyboard
Percy Pursglove - trumpet
Peter van Bergen - bass and Ab clarinets
Mark Nauseef - percussion
Sten Sandell - piano and synthesiser
Adam Linson - bass and electronics

Recorded live on 12 of October 2019 at 14th Ad Libitum Festival, Laboratorium, U-Jazdowski, Wojciech Krukowski Hall, Warsaw by Kuba Sosulski
Mixed by Evan Parker with Fil Gomes at Arcobarco, Ramsgate, UK
Mastering by Grzegorz Piwkowski (High End Audio)
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Thursday, March 25, 2021

Lucía Martínez / Agustí Fernández / Barry Guy - Bosque de niebla (2CD) March 2021 Fundacja Słuchaj

What can be the typical piano trio in the hands of three truly greatest, and wide-thinking contemporary virtuoso artists? It can be whatever you could think, it can fulfill every shape you can imagine and let the music be an incredible space where invention, heart, and intellect could work together with unbelievable artistic succes!

1. 1.1 1. Entre helechos 04:41
2. 1.2 Fantasmas de neblina perpetua 06:40
3. 1.3. Cueva de los Guácharos 07:10
4. 1.4. La viuda de la Macuira 07:54
5. 1.5. Loro orejiamarillo 04:36
6. 1.6. Arroyito de aguasanta 06:43
7. 1.7. El Lamento de los Yariguíes 06:43
8. 2.1. Bejuco del alma 05:47
9. 2.2. Musguito quitapenas 03:28
10. 2.3. Frontino y El Duende 08:29
11. 2.4. Tatamá tiene dos hermanos 04:36
12. 2.5. Zamarrito gorjiturquesa 08:13
13. 2.6. Mi orquídea tiene un hijuelo 06:29
14. 2.7. El sendero de las mariposas de alas de cristal 04:50
15. 2.8. Arboloco 07:16

Lucía Martínez - drums, percussion, cracklebox, voice
Agustí Fernández - piano
Barry Guy - bass

Recorded: July 9th, 2019 at Rosazul Estudi, Barcelona, Spain
Recording, mixing, and mastering: Ferran Conangla
Executive Producer: Maciej Karłowski
Produced by Lucía Martínez for Fundacja Słuchaj
Barry Guy plays exclusively on Thomastik Springs + logo
Music by Lucía Martínez, Agustí Fernández and Barry Guy

Guillermo Gregorio / Damon Smith / Jerome Bryerton - Room of the Present (March 2021 Fundacja Słuchaj)

This album is structured around two performances of Guillermo Gregorio’s graphic score Moholy 2, inspired by the remarkable art and ideas of László Moholy-Nagy (1895–1946). More about him later. Gregorio’s fascinating score, illustrated here, deserves center stage.

In the complete score, at top, shapes float in a blank void. Bars of notated music and sections of musical staff are the only reminders of a conventional score. Look at them again and imagine that you can’t read music. Black dots scatter, one by one, across five parallel, horizontal lines. Gregorio isolates the dot and the line and reimagines them as the vocabulary for a new visual language that only exists in this universe. Dots grow into circles and shrink into specks. They rotate to form ellipses and cut off into hemispheres and circle segments. Lines wander and multiply, streak across the void at dynamic angles and assemble with martial order to create geometric shapes. One renegade line in the upper right arranges itself into a nest of intertwined triangles. Like all good graphic scores, Moholy 2 offers the performer countless variations of simple units to interpret.

But this complete score with all its richness is only part of a two-layered system. A second sheet, which Gregorio calls a “mask,” sits on top of the complete score, blocking it except for twelve open circles that focus the performer’s attention on specific passages. Moving the mask invites the potential for endless permutations. For these performances, black-and-white versions of the score were used, but the color versions illustrated here introduce a new layer of complexity.

The score’s hybrid status as art and music, its geometric abstraction, elegant simplicity, and infinite variety, continue the spirit of Moholy’s expansive art. A polymath, he introduced Russian-style constructivism to Berlin, led the Bauhaus metal workshop, worked as a set and lighting designer for experimental theaters, and founded the New Bauhaus in Chicago, now the Institute of Design, all before his death at the age of 51. Even more impressive are his writings, which open a window into one of the 20th century’s most inquisitive minds. In his first book, Painting, Photography, Film published in 1925, Moholy exhorted his reader to understand art as part of the Gesamtwerk, the wholeness of life, a vast integrated totality of action and idea. More than his paintings, Moholy’s words continue to inspire creative artists like Gregorio today.

1. Improvisation 4 04:51
2. Moholy 2 take one 06:57
3. Madi Piece nr. 1: Planimetria 08:10
4. Cards 10:10
5. Coplanar 1+2 07:35
6. Improvisation 1 06:22
7. Improvisation 2 10:17
8. Madi Piece Nr. 2 06:12
9. Moholy 2 take two 04:54
10. Otra Musica 4b 06:09
11. Improvisation 3 06:40

Guillermo Gregorio - Bb clarinet, A clarinet, alto clarinet, and alto saxophone, conduction (Moholy 2)
Damon Smith - double bass
Jerome Bryerton - percussion, selected cymbals, misc. drums

Vasco Trilla - Unmoved Mover (March 2021 Fundacja Słuchaj)

"Vasco Trilla is a masterful visionary sonic alchemist, a sound painter of subtlety and grace. His work has a great capacity for stillness and space, qualities both rare and much needed in these chaotic overstimulated times. These are healing deep breath percussive meditations channeled by Señor Trilla direct from Spirit as a blessing for mind and soul." Ra Kalam Bob Mose

1. Unmoved Mover 07:42
2. Hylomorphism 02:22
3. Ousia 05:13
4. Living Bodies 05:22
5. Nous 06:07
6. Hylozoism 01:48
7. Celestial Spheres 05:12
8. Causeless Cause 06:42

Vasco Trilla: timpani and gong

All music by Vasco Trilla
Recorded on 30/06/2020 by El Pricto at T.U.R.F, Barcelona
Mixed and Mastered by El Pricto

Monday, March 1, 2021

Marek Malinowski / Robert Rychlicki-Gąsowski / Wojciech Zadrużyński - Scratching Fork (2021 Fundacja Słuchaj Records)

A place between structure and fluctuation where planning and spontaneity intertwine, enriched by rational thinking or wild instinct. A connection between cold focus and wonderful oblivion. The art of compromise without compromising. It might be a place where the hardness of metal touches the softness of skin. Scratching Fork could be all of these. One thing is certain – it is a band, a talented trio playing jazz-like music in contemporary style. The story of this band started in 2015 and since then Scratching Fork has been growing without rush, but consistently and inevitably, just like the mountains of New Zealand. Developing, not seeking attention or caring about changing trends, simply focusing all its energy on its purpose, emotions and discovery. 

Slowly cultivating its music, the band has grown stronger by firmly following its local Kuyavian roots. And what about these roots? What, or rather who creates Scratching Fork? The idea to create the group, just like the first song of Ilúvatar, seeded in the mind of Marek Malinowski. He then invited two musicians from Toruń to cooperate, Wojtek Zadrużyński (drums) and Robert Rychlicki (double bass), who had cooperated in rhythm sections for years. Both were fascinated by Marek’s music from the very first rehearsal and thus, adding a touch of their own sounds and emotions, became part of the band.


1. When She Sleeps 07:00

2. Mountains 10:05

3. Vertigo 03:06

4. Dancer In Galoshes 05:17

5. 7 O'Clock 04:18

6. Goodbye Poem 04:43

7. Fairytale Land 05:14


Marek Malinowski - guitar

Robert Rychlicki-Gąsowski - double bass, bass guitar

Wojciech Zadrużyński - drums


All compositions by Marek Malinowski


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Friday, August 5, 2016

Agustí Fernández & Yasmine Azaiez - REVELATION (2016) Fundacja Słuchaj


present

Agustí Fernández & Yasmine Azaiez - REVELATION (2016)



Free Music demands invention. It is not enough to rely on one’s repertoire or default techniques. Every performance is a confrontation with the undiscovered. Each player expects the challenge to change with every portion of sound or silence. The formulation of a musical duration demands complete attention by each player, who is obligated to interpret and determine the questions and answers with immediate action. 

Focus with one’s artistry, and facility with ones instrument, must combine with an agreement that everything is mutable and therefore unknown until it is heard. Agustí Fernández, a master of improvisation on piano, and Yasmine Azaiez, a virtuoso violinist still in her mid 20s, are two of the most daring musicians I know, virtuosos of the highest order, each comfortable in any musical situation. 

Both are vital, passionate artists who search for new material and areas of expression. As a friend and colleague to both of them, I am not surprised that on this recording they completely embrace the need for invention, and in the process, change the way a piano and violin sound together—no small feat considering the history of this instrumentation. 

We hear massive arcs and varied densities made of the smallest particles of sound, all movable, constantly evolving, implying a narrative and also the elemental, organic configuration where sound needs no more interpretive definition. Our opportunity as listeners is to decipher our own understanding of what this music means to us, how it formulates itself in our experience with it. 

Agustí Fernández and Yasmine Azaiez have done their jobs on this recording with grace and daring. They’ve made an exciting experience for us to examine—one where we can discover ourselves through the surprise of newly invented music. —Joe Morris


1. STATEMENT 06:24
2. REVELATION 11:30
3. SERENA 05:36
4. METAMORPHISM 04:35
5. MONOLITH 03:35
6. DARK DRONE 03:26
7. OPALESCENCE 06:42
8. ALBA 02:56
9. PASSAGE 06:19

Released July 20, 2016 

Agustí Fernández, piano 
Yasmine Azaiez, violin 

All music by Agustí Fernández & Yasmine Azaiez 
Recorded on November 9th, 2015, and April 23rd, 2016 
Recorded at L'Obrador, Sant Pere de Vilamajor, Barcelona, Spain 
Mixed and mastered by Ferran Conangla at FMC Estudis, May 17, 2016 
Photo by Joan Cortès 
Graphic design by Małgorzata Lipińska 
Produced by Agustí Fernández and Maciej Karlowski for Fundacja Słuchaj