Program:
Thursday, 31.3. 2022
Drago Ivanuša - piano / Vita Kobal – violin
Drago
Ivanuša is a composer, pianist and accordionist. By 2021 he had created
music for more than 150 theater and dance performances, collaborated
with prominent directors and choreographers, and in the late 90's began
working in the field of film music, where he participated in major
projects in the revival of Slovenian film (Idle Running, Bread and Milk,
Ruins, Circus fantasticus and others). He received two Vesna Awards at
the Slovenian Film Festivals, and with the film Bread and Milk the ˝Lion
of the Future Award˝ at the Venice Film Festival. He received the
˝Golden Bird Award˝ for his work. In addition to working for theater and
film, Drago Ivanuša also creates independent projects in various fields
of music. He is the author of chamber instrumental music for various
ensembles, symphony orchestra, author of libretto and music for the
musical drama Orlando, for the full-length ballets etc. He performs as a
solo pianist (La Bête Humaine) and in collaboration with many musicians
in Slovenia and abroad.
Vita Kobal is a violinist who is
currently studying jazz at the Gustav Mahler Privatuniversität in
Klagenfurt with professor Max Grosch. After finishing school at the
Ljubljana Conservatory of Music and Ballet, where she acquired a
classical education, she began to engage in improvisation and improved
her knowledge in other musical genres. She has participated in groups
and music projects such as Sezam, Počeni škafi, Bowrain, Kukushai and
others. She is currently active mainly in the research of jazz and ethno
music, plays in the bands Divota and the duo Vivo and participates in
the project Magnetik with Drago Ivanuša.
Jonas Kocher - accordion / Gaudenz Badrutt - electronics
The
two musicians have been collaborating for many years in
interdisciplinary projects, with other musicians or dancers but they are
above all a duo where improvisation is at the heart of their
music-making. A music in which the accordion and electronics become one,
a music that is both disconcerting (one does not know when or how the
sound events they propose will appear) and exciting, so much so that the
quality of the sounds brought into play, their diversity and their
ruptures invite one to a playful listening experience in which the ear
discovers breaths, clicks, whistles, rustles and other manifestations of
a sound world that is as much organic as it is reserved. Badrutt and
Kocher have been invited to present their work at the Festival Le Bruit
de la Musique (F), Sokolowsko Sanatorium of Sound (PL), JOLT Festival
(CH), Ring Ring Festival Belgrade (RS), Unlimited Wels (AT) and have
been extensively touring in Europe and Russia since 2012.They currently
work closely with musicians such as Hans Koch, Christof Kurzmann, Kai
Fagaschinski or Ilia Belorukov.
Jonas Kocher is a sound artist
and accordionist born in 1977. He has a strong interest in process
oriented works, unstable situations and improvisation. Active in
numerous artistic and social contexts, his regular collaborators are
musicians such as Joke Lanz, Axel Dörner, Jacques Demierre, Hans Koch,
Gaudenz Badrutt, Tomaž Grom or Bertrand Denzler. He also works with Radu
Malfatti, Irena Tomažin, Kasper T.Toeplitz, Christof Kurzmann,
Christian Kesten, Michel Doneda, Kai Fagaschinsky and many others.As
sound artist and composer Jonas Kocher has realized works that are
situated between composed theatre, installation and concert pieces. He
has been invited to present his work as accordionist or composer by
major festivals such as Festival Météo Mulhouse, Festival Le Bruit de la
Musique, Art Biennale Thessaloniki, Music Unlimited Wels, Ring Ring
Festival Belgrade, Cerkno Jazz Festival…
Gaudenz Badrutt (*1972)
works since more than 20 years mostly as an electroacoustic musician in
the field of improvised and composed music. He is mainly known for his
collaborations with Jonas Kocher (accordion) and Hans Koch (bass
clarinet, clarinet, soprano saxophone), as Solo-Performer as well as one
half of the electroacoustic duo Strøm. Badrutt’s music is coined by a
very instrumental use of computer/live sampling and electronic devices.
Badrutt is further occupied in the fields of sound & video
installation and musicology. He works on current projects with Ilia
Belorukov, Christof Kurzmann & Kai Fagaschinski (Baldrian Quartet),
Jean-Luc Guionnet & Frantz Loriot (Trio)… He plays concerts at home
and abroad, including at the Festivals Jauna Musika Vilnius, RingRing
Belgrade, Music Unlimited Wels, Le Bruit de la Musique
Saint-Silvain-sous-Toulx (F), Sanatorium of Sound Sokolowsko (Poland),
Irtijal Beirut, Zwei Tage Zeit Zürich, Transmediale Berlin or
Taktlos/Tonart Bern. Gaudenz Badrutt lives as a freelance musician in
Biel (Switzerland).
Ute Wassermann - voice / Joke Lanz – turntables
Joke
Lanz and Ute Wassermann have been working as a duo since 2016. They
surprise with a mix of vocal, physical and electronic actions, shifts
’n’ cuts, super speedy turns, twisted melodies, stop & go grooves
and obscure loops. In 2019 they performed an excellent concert at
Konfrontationen Festival in Nickelsdorf which was recorded by the
Austrian state radio ORF and released on CD by the label Klangalerie in
2021. The CD Half Dead Half alive is on the longlist for Preis der
Deutschen Schallplattenkritik 2021.
… The listening experience may
leave you shocked but guarantees tons of fun. If you can imagine rare,
colorful birds, with a flair for dadaist mischief, dance along
anarchistic techno grooves that threaten to melt your brain, you may get
closer to what happened in this outstanding performance…
(Eyal Hareuveni, The Free Jazz Collective, April 2021)
Joke
Lanz is a pioneer of the electronic Independent scene and crossover
artist whose work spans improvised and experimental music, noise and
turntablism, performance art and musique concrète. In addition to
theatre and film music, radio works, installations, paintings and
collages, there are two constants in his work: Turntablism - making
music by manipulating vinyl records - and his longtime action project
Sudden Infant which morphed into a trio in 2014 after 25 years as a
one-man operation. He collaborated with: Shelley Hirsch, Peter Kowald,
Christian Marclay, Olaf Rupp, Astro, Z’EV, Ken Vandermark, Johannes
Bauer, Lasse Marhaug, Jorge SanchezChiong, Rudolf Eb.er, Strotter Inst,
Christian Weber, Charlotte Hug, Audrey Chen, Mat Pogo, Ute Wassermann
etc.
Ute Wassermann is a German vocalist and visual artist. She
tours the world as an improviser, she realises audiovisual voice
performances / installations and compositions for soloists and
ensembles. Over the years she has developed an ever-growing catalogue of
multifaceted vocal expressions which has inspired improvisors and
composers all over the world. Her workshops which are often described by
the participants as a liberating experience involve improvisation or
composition from solo to choir. She is a member of bands like: Speak
Easy / Phil Minton, Thomas Lehn, Martin Blume, MUT / Thomas Rohrer,
Michael Vorfeld, electrovoX / Thomas Lehn, Richard Scott, radiotweets /
Birgit Ulher, Tree 23 / Joke Lanz, N.E.W. / Andrea Neumann, Sabine
Ercklentz, shohob (Raed Yassin), Hatifnatten (Sabine Vogel).
Friday, 1.4. 2022
Samo Šalamon - guitar / Bojan Krhlanko - drums / Cene Resnik - saxophone / Jošt Drašler - double bass
The
quartet SALAMON, RESNIK, DRAŠLER & KRHLANKO will present new music
from the upcoming album Before It Rains. It is a mixture of
improvisation and composition!
Samo Šalamon, according to world
critics, is one of the most important modern jazz musucians in Europe.
As band leader he recorded more than 30 albums with many outstanding
jazz musicians, including Howard Levy, Paul McCandless, John Hollenbeck,
Mark Turner, Arild Andersen, Bob Moses, Michel Godard, Drew Gress, Tony
Malaby, Mark Helias, Tom Rainey, Tim Berne, Donny McCaslin, David
Binney, Josh Roseman, Gerald Cleaver, John Hebert, Francois Houle,
Julian Arguelles, Dominique Pifarely, Carlo DeRosa, Tyshawn Sorey, Bruno
Chevillon, Stefano Battaglia, Christian Lillinger, Arildal Andersen,,
Matt Brewer, Loren Stillman, John O'Gallag and many others. His debut
album Ornethology was placed among 1001 best records in the jazz music
history by prestige English Penguin Books publishing house! In the
beginning of 2022 he released solo album Dolphyology: Complete Eric
Dolphy for Solo Guitar.
Bojan Krhlanko studied at the Austrian
Regional Conservatory in Klagenfurt with prof. Erich Bachträgl and
Klemens Marktl. As a student, he collaborated with world-renowned jazz
musicians and regularly performed with The Stroj in European and Asian
countries. He is currently creating in many projects: Boštjan Simon;
There Be Monsteres, Brest, Samo Šalamon trio, Abstract Construction
Collective, Bojan Krhlanko - Circle Of Pax. He is a very creative
musician who is always exploring areas of the unheard and in 2014 he
released the album Pocket Music- Rise Of The Androids, which was made
entirely on a smartphone. In 2017, he also became a member of the
legendary band Laibach, with which he currently performs regularly
around the world.
Cene Resnik (1978) is a saxophonist,
improviser with extensive experience in playing creative, free jazz
music, with numerous international collaborations. He lives and works in
Ljubljana. In 2007 he graduated with honors from jazz saxophone in
Klagenfurt and then regularly visited New York for two years, where he
literally got to know the "scene" up close, drew from it and gained his
first stage experience there. Between 2007-2013, he spent half his time
in India, mainly due to the study of Buddhism and meditation retreats,
according to the Tibetan tradition - under the guidance of a teacher, a
guru. Resnik has been practicing this kind of practice continuously for
more than 20 years. Since 2012, he has had a number of critically
acclaimed projects for acclaimed record labels such as Clean Feed, Not
Two Records, etc. He has collaborated with famous names of the world
creative music scene as well as with a number of great local musicians:
Rob Mazurek, Frank Rosaly, Torbjorn Zetterberg, Tanja Feichtmair,
Emanuele Parrini, Giovanni Maier, Stefano Giust, Johannes Bauer, Phil
Minton, Zlatko Kaučič etc.
We know Jošt Drašler as a double bass
player who works in free improvisation, free jazz, jazz and rock and
indie rock bands. While studying musicology, he studied double bass at
the regional Conservatory in Klagenfurt. He also studied with the famous
Slovenian improviser Zlatko Kaučič, with whom he participated in his
larger ensembles (Orchestra Senza Confini, Kombo, Cerkno Jubileum
Orchestra), with his brother Vid Drašler and wind instrumentalist Marko
Karlovčec he formed the fiery free jazz trio DKD Trio, with which they
created a record and performed at home and abroad. He is a member of
Balžarlorsky-Drašler 3o, the ensemble Olfamoštvo, collective Oholo!,
trio TiTiTi and the ensemble of drummer Aleš Rendla, and he collaborates
a lot with Mario Rechtern and Linda Sharrock, Aleksandar Škorić and
Benedict Taylor. In 2018, he recorded a solo album for double bass The
Balloon Catcher. He is also active as an organizer of events in Vrhnika
and Bistrica ob Sotli.
Līmen II: Tilen Lebar - composition, electronics / Sae Lee - piano / Mauricio Valdés San Emeterio - sound distribution
In
February 2021, after a set of circumstances, I came across the term
liminal spaces, which in the Slovenian translation has no other
designation than the transitional space. This type of designation refers
to abandoned residential buildings, corridors, subways, shopping malls,
offices, warehouses, factories, etc. The original purpose of all these
spaces is, of course, to be filled and populated. As they become
abandoned, they also lose their original purpose. When visiting such
sites, people report of individual or even collective emotional and
memory reactions, of course within the wider cultural environment of the
individual. These include two phenomena: anemoia, which by definition
refers to the experience of nostalgia for a time or period that an
individual has not experienced, and kenopsia, which refers to
experiencing the atmosphere of an individual abandoned space that brings
out-of-context silence that was not present before, because the
environment or space involved crowds of people in their work. The
transitional spaces thus enable the experience of both mentioned
phenomena. In further research, I came across the multiplicity of the
term liminal, found for example in anthropology and folklore (for
example initiation rites), religion (ascension, reincarnation),
psychology (state of perception and transience, phase of sensory
perception) or philosophy (a milestone between » unity ”and“ otherness
”). In the case of initiation rites, Arnold van Gennep’s theory brought
me closer to an anthropological view of transience. Gennep structured
the term liminality and in this context linked it to the Latin word
Līmen, which expresses precisely transience or transition. Composition
Līmen II further develops my fascination with this kind of transience
and is a continuation of my work Līmen, which included sound
installations, flute concerto, clarinet, sound recording and live
electronics and which conceptually exploited the anthropological
definition of initiation rites, which expresses precisely this kind of
transience of space through the three-part Gennep structure. Līmen II is
also divided into three parts. The first relates to "pre-liminality",
which metaphorically leaves the original state and in this case realizes
the minimalist harmony of tremolo, which we perform with a piece of
rubber at the beginning of the piano string fis1 and gradually open a
space with isolated aliquots on the string itself. Aliquots are
gradually sounded through the immersive six-channel sonority. The
environment does not allow development and is extremely static in terms
of harmony, sound and macroform. The internal balance, which in this
case refers to the ambient sound movements of individual particles of
harmony, allows and draws attention to the liveliness of the sound
material. In the second part of "liminality" I gradually include other
widespread sound techniques, which include condensing sound material
through arc with plastic cord, which actually causes "drone" sounds,
which gradually merge with the aforementioned "pre-liminality" and open
the width of the harmonic spectrum. The incorporation of sound by
rubbing the rubber against the strings gradually incorporates sound
relationships using e-arcs, thus opening up microprocesses (including
interferences with microtonal differences and flickering sonority). The
gradual transition to "post-liminality" leads to bright percussive
colors and thus the search for palettes that in the transition merge
with the technique of prepared register in the piano, jumps of magnets
on strings and occasional blows of glass objects against the inner frame
of the piano. The macrostructure is thus related to the strictly
prescribed sequential development of events that enable changes in the
identity of the aforementioned staticity into "destructiveness" and tend
to diversify sound within microprocesses and macrostructure that
embraces the development of densification and gradually builds its
fullness through "spatial" distribution of sound. Post-liminality again
leads to static sound connections, which (sound), however, is altered
and distorted.
(Tilen Lebar)
After studying at Toho Gakuen
School of Music in Tokyo the pianist Sae Lee graduated with honors in
piano and chamber music at the Conservatory of Paris with Michel Beroff
and Eric Le Sage. She is the winner of several competitions, including
the international piano competitions of the City of Padua and Albert
Roussel, and the chamber music competitions Fnapec in France, Carlo
Soliva in Italy and the Cidade de Alcobaça in Portugal. Lee has
performed on the stages of important festivals and events, such as the
Enghien Piano Festival (France), the Nevada-Semipalatinsk international
conference under the auspices of the Kazakh government and UNESCO, and
the TV program of Japan national television NHK Classic Club. As a
soloist, she has given concerts with the Sofia and Pleven philharmonic
orchestras, Musica Collegia Orchestra from Kojima, the Kansai
Philharmonic Orchestra, the Osaka Opus Sinfonia Orchestra and the
Slovenian Philharmonic Orchestra. She works artistically with
world-renowned ballet dancers such as Aurélie Dupont (director and first
ballerina of the Paris (National) Opera Ballet), Kevin O’Hare (director
of the Royal Ballet of London) and Rachel Beaujean (artistic director
of the Dutch National Ballet). She is currently employed at the Academy
of Music of the University of Ljubljana.
Mexican composer,
guitarist and improviser Mauricio Valdés san Emeterio has been living in
Slovenia since 2011, where he continues his various activities, mostly
related to electroacoustic music. He studied with Robert Morales, José
Luis Castillo and Åke Parmerud. As a composer, organizer and researcher
he is involved in international events through work for Mexican
institutions (Harp Helú foundation, Instrumenta chamber music academy,
Mexican Center for Music and Sound Arts CMMAS), and as a researcher he
has collaborated with Miller Puckette, author of systems Max / SMEs and
Pure Data. Valdés creates in various genres of electroacoustic music and
sound art. Initially, he composed mainly fixed electroacoustic works
with complex treatments of diverse material and gradually developed an
increasingly pronounced use of surround sound, which was particularly
reflected in the 34-channel work Santa Muerte (2017). In the last
decade, while developing tools for spatial projection of electroacoustic
works, he focuses on live electronics and combining composition with
improvisation, especially on guitar, also prepared one, and since 2010
he has been developing the Arenero application for live electroacoustic
modification for the development of the mentioned practice. He currently
works as the head of audio and technical research in the HEKA
laboratory under the auspices of the PiNA association in Koper.
Tilen
Lebar (1993) is a saxophonist, composer and improviser and one of those
young musicians who goes beyond his original role of performer,
instrumentalist. While studying the saxophone at the Academy of Music of
the University of Ljubljana, Lebar created a notable compositional opus
and participated in the organization of componiISITI evenings with
works by students of the Academy who do not study composition. After the
informal compositional mentorship of Uroš Rojko at the Ljubljana
Academy, he completed his master's degree in composition at the Royal
Conservatory in The Hague in the Netherlands in the classes of Peter
Adriaansz, Cornelis de Bondt and Guus Janssen. In his music we can
observe special attention to individual instrumental techniques and
their color harmony, a thorough knowledge of the tradition of Western
art music and at the same time experimental flows. He showed his
attention to the overall musical experience with his feature film
Layering Time and the work Līmen, a combination of a spatially specific
installation and a cycle of compositions for flute, clarinet and
electronics. Among others, he collaborates with the ensembles
Asamisimasa, Contrechamps, Oerknal, Slagwerk Den Haag and institutions
such as the Experimental Studio of Southwest German Radio and the Dutch
National Opera & Ballet.
Ustavite se! (˝Stop!˝): Nina Dragičević – composition, text / Irena Z. Tomažin – voice
"Practice
serenity, Mrs. Woolf," they said to Virginia Woolf. "Culture has to
make money, too," says the simpleton. "I don't have time," almost
everyone says. And that "time is money." So does a cultural worker have
to work time? Speed, which is supposed to save time and thus save money,
is thus supposed to create the conditions for the creation of both, and
individuals to survive. In the sonority of inhaling and exhaling, the
acceleration of vitality, modernity is condensed. The rhythm of the
surviving force sounds in the trembling of the tongue. Listening to a
female individual means listening to the whole world.
Nina
Dragičević is a writer, composer and doctor of sociology. She is the
author of several books (books 'Kdo ima druge skrbi (2014)', Famous
Unknowns (2016), The Music Between Them (2017), 'Ljubav reče greva'
(2019) and 'To telo, pokončno' (2021)), electroacoustic compositions and
sound installations. Her album Parallelax was released in 2016, and in
2019 the album with the electroacoustic operetta Ma’am there is no such
thing in reality. She is also the artistic director of the international
symposium festival Topographies of Sound International
symposium-festival. In 2021 she received the Jenko Award, in 2020 the
Župančič Award, and in 2018 she was the first in the history of the
Knight of Poetry Award to receive both awards - the Jury Selection and
the People's choice award. She was shortlisted for the 'Kritiško sito
2020', the Veronika Award 2019 and the Jenko Award 2019, she also
received a certificate from the University of Ljubljana for outstanding
achievements, and in 2018 she was a finalist for the european Palma Ars
Acustica Award.
Irena Tomažin is a vocalist and dancer who works
and creates within experimental improvised music, in movement theater
performances and teaches her workshops focused on voice and movement
under the name "moved by voice" or "loud workshop" both at home and
abroad. She has released three self-titled albums: Crying Games, Taste
of Silence and Lumb in the Throat. In her musical or sound experimental
work, she explores and develops landscapes of voice that combine words,
fragmented lyrics, (traditional) melodic singing as well as extended
vocal techniques, including noises, claps or sounds of the oral cavity
that do not belong (only) to the voice but also body. She performs solo
and in various ensembles with many musicians: Tomaž Grom, Lee Patterson,
Xavier Charles, Christof Kurzmann, Jonas Kocher, Gaudenz Badrutt,
Šalter Ensemble, Matej Bonin and others. With her solo project iT and as
a vocalist she has participated in many festivals both at home and
abroad. Her compositions for voice and body have been published in
Mathieu Copeland’s books Une exposition à être lue and Chorégraphier
l’exposition and have been staged in Geneva, Paris and Madrid. So far,
she has created ten authorial vocal-movement performances in which she
explores the connections between voice, gesture, body, space and
sonority.
GRIFF: Ingrid Schmoliner - piano / Emilio Gordoa – vibraphone and objects / Adam Pultz Melbye - double bass
Formed
in 2017, Griff has performed at venues and festivals around Germany and
Austria and released its debut album on the label Inexhaustible
Editions in spring 2021.
The combination of piano, bass and vibes is
utterly inspired, each instrument shining like a sheet of cold silver
in a dark sky. (www.thesoundprojector.com)
Simultaneously puzzling and inviting, GRIFF is a welcome invitation to keep on guessing. (Bille Meyer, Dusted Magazine)
The
pianist and vocal artist Ingrid Schmoliner lives and works as a
freelance musician, composer, curator and pedagogue in Vienna.
Artistically she moves in the genres of new music,
experimental-improvised music, avant-garde music, free jazz, folk fusion
and folk music. A further focus of her work is on the interdisciplinary
collaboration with dancers, choreographers, and video artists. She has
worked with artists such as Joachim Badenhorst, Joelle Leandre, Liz
Albee and Frantz Hautzinger.
Adam Pultz Melbye is a Danish double
bass player, electro-acoustic composer, programmer and researcher
currently living in Berlin. Has toured extensively as a solo artist and
with several own and co-led projects in Europe, the US, Japan and
Australia, creates sound installations and is a frequent collaborator
with dancers, film makers and visual artists. Collaborations include
Evan Parker, Lotte Anker, Pat Thomas, Axel Dörner and Julia Reidy.
Emilio
Gordoa is a Mexican vibraphone player, percussionist and sound artist
based in Berlin. His work has been presented at numerous festivals
across Europe, Central America and Australia and is often characterised
by collaborations with other art forms. He has performed with Ute
Wassemann, John Butcher, John Edwards, Nate Wooley, Yuko Kaseki and many
others.
Saturday, 2.4. 2022
concert with music workshop participants (Jonas Kocher)
Musicians:
Tilen Kravos, Žiga Ipavec, Vid Drašler, Jure Boršič, Ina Puntar, Žiga Jenko, Lola Mlačnik, Jernej Babnik Romaniuk, Marko Jenič
Jonas
Kocher is a sound artist and accordionist born in 1977. He has a strong
interest in process oriented works, unstable situations and
improvisation. Active in numerous artistic and social contexts, his
regular collaborators are musicians such as Joke Lanz, Axel Dörner,
Jacques Demierre, Hans Koch, Gaudenz Badrutt, Tomaž Grom or Bertrand
Denzler. He also works with Radu Malfatti, Irena Tomažin, Kasper
T.Toeplitz, Christof Kurzmann, Christian Kesten, Michel Doneda, Kai
Fagaschinsky and many others.As sound artist and composer Jonas Kocher
has realized works that are situated between composed theatre,
installation and concert pieces. He has been invited to present his work
as accordionist or composer by major festivals such as Festival Météo
Mulhouse, Festival Le Bruit de la Musique, Art Biennale Thessaloniki,
Music Unlimited Wels, Ring Ring Festival Belgrade, Cerkno Jazz Festival…
Doug Hammond Griot solo performance – voice, drums, sanza
Doug
Hammond is an American composer, writer, percussionist, singer and
producer, who lives and works in Linz, Austria. He has been active for
around 6 decades and worked with several known names, such as Charles
Mingus, Nina Simone, Sonny Rollins, Ornette Coleman, Betty Carter, James
Blood Ulmer ....
A music that's personal to each listener:
grooves, moves and blues; jazz, songs, spoken word and raps; swinging in
all directions, from the roots to the top of a tree or the blossoming
of a rose. A passionate delivery in sound! Performing from CD/LP/ book
releases. A stage presentation of a musical adventure into this living,
bristling 21st century, for an experience as concertized fantasy. A
living adventure in sound and expression.
Step That Resonates: Zlatko Kaučič - drums / Agustí Fernándes - piano / Martin Küchen – saxophone
Zlatko
Kaučič is Slovene drummer, percussionist and composer. In 2018 he
celebrated forty years of creation in the field of jazz and improvised
music, as well as his mentoring to young and perspective musicians.
Kaučič focuses on creativity beyond the clichés, on the purity of music,
and on the music that risks, provokes, which forces us to think, which
is complex and a mix of various musical languages. It is necessary for
him to have experiences, not only musical, but also life. He has
released over 60 CDs, some of which have gained recognition at home and
abroad. From his extensive opus, there were some of them on various top
lists and between the best albums. In Nova Gorica, he manages a musical
group Kombo and music school. He conceived the Brda Contemporary Music
Festival, which he’s curating since 2011. He performed in numerous
important festivals and played and recorded with renowned musicians and
musical innovators in the field of jazz and improvised music such as
John Lewison, Keeny Wheeler, Paul Bley, Albert Mangelsdorff, Chico
Freeman, Louis Sclavis, Peter Brötzman, Alexander Balanescu, Ken
Vandermark, Joëlle Léandre, Marc Ribot, Evan Parker and many others. He
recorded music for several films and collaborated in documentaries in
Spain.
Agustí Fernández (Palma de Mallorca, 1954), with a
perfectly based career and a wide and well-deserved international
reputation, is one of the Spanish musicians of major international
projection and a world reference in the field of improvised music.
Fernández has worked with great improvisers like Peter Kowald, Derek
Bailey, Evan Parker, Joe Morris, Barry Guy, Zlatko Kaučič, Mats
Gustafsson and Peter Evans, a.m.o., and with many improvisers all over
the world. He is or has been a member of the Evan Parker
Electro-Acoustic Ensemble, the Barry Guy New Orchestra, the Blue Shroud
Ensemble, the Mats Gustafsson Nu Ensemble and the London Jazz Composers
Orchestra, a.m.o. Up to day he has released more than 250 CDs.
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 impro-related music in various formations and
solo.
