Confine aperto

Confine aperto - 20 September 2019, Friday 21.00 Galerija ŠKUC, Ljubljana

Miman
Miman is an improvising trio consisting of clarinetist and guitarist Andreas Røysum, violin player Hans Kjorstad and double bassist Egil Kalman. These musicians belong to the most distinct and active young voices on the thriving Scandinavian free jazz and improvisation scene on which they already had the chance to collaborate with musicians such as Axel Döner, Frode Gjerstad, Tobias Delius or Christian Wallumrød. Their area of interest and curiosity is wide and colorful, spreading from folk music to noise and intimate instrumental songs. The sound of the trio has been already shaped by their diverse backgrounds and influences - Norwegian, English and Indian folk music blends seamlessly with sentiments aching to free jazz and contemporary composed music in an organic fashion that steers clear of the dogmatic. The trio has toured all over Europe the last years, and in 2019 they released their second album and kept spreading their sound across the continent. / mimantrio.com
Swedish saxophone virtuoso Martin Küchen (1966) feels equally at home in free jazz bands and in projects which move towards the avantgarde. He has been active on the free jazz scene since the mid-nineties, when he performed on the streets and in Stockholm metro stations. By now, he became one of leading new voices in contemporary improvised music, leading bands like Trespass Trio, Angles and All Included. His recent collaborations include duos with Keith Rowe, Anders Lindsjö, Dimitra Lazaridou-Chatzigoga or Steve Noble. Küchen tours internationally within the fields of jazz and improrelated music in various formations and solo. / martinkuchen.com
Samo Kutin (1982) is an extremely active multi-instrumentalist, known for his use of unconventional and self-made musical instruments and sound-making objects. One of the traditional instruments in his repertoire is also the Hungarian medieval string instrument hurdy gurdy, which he can be often seen in playing at the events of experimental and improvised music. In the field of free improvisation he is intensively devoted to finding, discovering and manipulating the various potentialities of the hurdy gurdy. The extreme acoustic dimensions, from gentle noise to noisy drones, from soft blows to unbearable whimpers, he reaches through the preparation and amplification of the musical instrument, using both contact microphones and acoustic resonators.