1 Janvier 1992

Barre Phillips contrebasse, Evan Parker saxophone, Paul Lytton batterie, Irene Schweizer piano, Barry Guy contrebasse, Pierre Favre percussions, Maggie Nicols voix, Marilyn Crispell piano, Howard Riley piano, Trevor Watts saxophone, Paul Dunmall saxophone, Marc Charig trompette, Paul Rutherford trombone, Phil Wachsmann violon, Jon Corbett trompette, Henry Lowther trompette, Alain Tomlinson trombone, Chris Bridges trombone, Robin Hayward tuba, Simon Picard saxophone, Peter McPhail saxophone.

Irene Schweizer

Swiss pianist Irene Schweizer (1941), who had cut her teeth in a local trio with drummer Mani Neumeier. A few months after British saxophonist Joe Harriott, she pioneered Indo-jazz fusion by recording Jazz Meets India (october 1967), that featured a jazz quintet with trumpeter Manfred Schoof and Neumaier improvising with and a trio of Indian musicians (Diwan Motihar on sitar, Keshav Sathe on tabla, Kasan Thakur on tamboura).

She achieved notoriety in a trio with bassist Peter Kowald and drummer Pierre Favre that debuted on Santana (october 1968), with the 14-minute Santana. That trio became a Quartett (november 1969) with the addition of British saxophonist Evan Parker (the 19-minute Where are all the old cop sets Clancy). Ramifications (september 1973) began a collaboration with tenor saxophonist Ruediger Carl (it also featured drummer Paul Lovens, trombonist Radu Malfatti, bassist Harry Miller) that continued with the quartet of Goose Pannee (september 1974), containing the 21-minute Goose Pannee. Carl and Schweizer formed a trio with drummer Louis Moholo that recorded Messer (may 1975) and Tuned Boots (november 1977), with the 20-minute Tuned Boots .

Her first solo album, Wilde Senoritas (november 1976), contained two lengthy improvisations : the 15- minute Wilde Se¤oritas and the 18-minute Saitengebilde. Hexensabbat (october 1977) contained seven shorter pieces and the 12-minute live Rapunzel Rapunzel. Compared with the harsh avantgarde of the time, her style, blending classical, bebop and free-jazz elements, was folkish and oneiric.

But she was more famous for an aggressive style of playing that abused the possibilities of the keyboard and indulged in neurotic timbral detours. The duo with Carl yielded the live The Very Centre of Middle Europe (october 1978) and Die V-Mann Suite (october 1980), containing the 19-minute Frizeit. A trio with bassist Joelle Leandre and drummer Paul Lovens debuted in the 20-minute Trutznachtigall, off Live at Taktlos (february 1984). The collaboration with Leandre led to the 26- minute Now And Never for a quintet with American trombonist George Lewis, vocalist Maggie Nicols and drummer Guenter Sommer, off the live The Storming of The Winter Palace (march 1988).

She relished a series of piano-drum duos (Andrew Cyrille, Pierre Favre, Han Bennink, Louis Moholo, Mani Neumeier), best probably being the one with Sommer that yielded the ebullient 19-minute Schweizersommer (february 1987).

Piano Solo 1 (may 1990) contained very short pieces, while Piano Solo 2 (may 1990) was a set of live (and longer) improvisations.

The trio of Schwiezer, vocalist Maggie Nichols, and bassist Joelle Leandre, all members of EWIG (the European Women’s Improvising Group), recorded Les Diaboliques (april 1993), a series of brief absurdist skits. Les Diaboliques also recorded Splitting Image (november 1994) and Live at the Rhinefalls (may 1997).



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Barry Guy

Barry Guy is an innovative double bass player and composer whose creative diversity in the fields of Jazz improvisation, solo recitals, chamber and orchestral performance is the outcome both of an unusually varied training and a zest for experimentation, underpinned by a dedication to the double bass and the ideal of musical communication.

Between the early Seventies and mid Nineties Barry Guy held principal bass position in various orchestras including The Orchestra of St.John’s Smith Square, City of London Sinfonia, Monteverdi Orchestra, The Academy of Ancient Music, Kent Opera and The London Classical Players. During these years he was also active in the European Improvised Scene.

He is founder and Artistic Director of the London Jazz Composers Orchestra for which he has written several extended works with recordings of the following : Ode (Incus 1972 and re-released on Intakt 1996), Stringer (FMP 1980), Polyhymnia on ZURICH CONCERTS (Intakt 1988), Harmos (Intakt 1989), Double Trouble (Intakt 1990), Theoria (Intakt 1992) with the Swiss pianist Irène Schweizer as soloist, Portraits (Intakt 1994) and Three Pieces for Orchestra (Intakt 1997).

His concert works have been widely performed and his skilful and inventive writing has resulted in an exceptional series of compositions : Flagwalk (1983), The Eye of Silence (1988), Look Up ! (1990), After the Rain (1992), Bird Gong Game (1992), Fallingwater (1996), Redshift (1998), Remembered Earth (1999), Nasca Lines (2001), Inachis (2002), Folio (2002) and Anaklasis (2003).

Look Up ! was honoured with the Royal Philharmonic Society Award for Chamber-Scale Composition 1991–1992. Guy’s compositions usually reflect a personal liaison with musicians and ensembles he writes for. As such, the commissions arrive from chamber orchestras, chamber groups and soloists interested in contemporary musical performance with a special commitment to communicate with the audience. Guy’s works therefore have a sense of freshness without recourse to ideological excesses or scores that baffle players to the extent that performing becomes a trial.

The scores however are virtuosic and often present innovative sonorities and extended instrumental techniques and as a performer himself he is ideally placed to assess these possibilities.

Barry Guy continues to give solo recitals throughout Europe as well as continuing associations with colleagues involved in improvised, baroque and contemporary music. His current regular ensembles are the Homburger/Guy duo, the Parker/Guy duo, piano trios with Marilyn Crispell and Paul Lytton, Jaques Demierre and Lucas Niggli and a recently formed trio with Agusti Fernandez and Ramon Lopez. He continues the longstanding trio with Evan Parker and Paul Lytton as well as projects with Mats Gustafsson.

The Barry Guy New Orchestra (BGNO), formed in 2000, features in festivals as a project ensemble, and Barry Guy as a director/composer is often invited to work with large ensembles using his own extensive library of composed works or to give lectures and workshops on his various graphic scores. BGNO’s first album Inscape-Tableaux was a recipient of the 2001 Choc de l’Année award in France.

— 
source : www.barryguy.com



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Paul Dunmall

After turning professional at seventeen and touring Europe for one year with progressive rock group Marsupilami he moved to America and lived there for 3 years playing with many musicians including Alice Coltrane and toured with Johnny Guitar Watson for one year. On his return to the UK he worked with folk musicians Polly Bolton/Kevin Dempsey and groupings worked around the Dando Shaft band. In 1979 he became a founder member of the jazz group Spirit Level with pianist Tim Richards plus playing free improvised music with the Nigel Morris trio. At this time also Paul played in the London Improvised music scene. In 1985 the group Tenor Tonic was formed with Alan Skidmore, Tony Levin and Paul Rogers. In 1987 Paul joined the London Jazz Composers Orchestra lead by Barry Guy and joined Danny Thompson’s Folk/Jazz hybrid Whatever. The following year the outstanding collective quartet Mujician was formed with Keith Tippett, Tony Levin, Paul Rogers. Whilst playing in these groups Paul was also still playing in many ad hoc groups plus playing in several of Elton Deans ensembles. Since 2000 Paul is still freelancing and has been playing in the composer’s Brian Irvine’s 14 piece band. In 2003 Brian was commissioned by the BBC to write a full orchestral piece with freely improvised saxophone, a long time dream of Paul’s. In 2000 Paul set up his own improvised music record label with Philip Gibbs called Duns Limited Edition. It brought musicians together to improvise from many different traditions such as classical/folk/ethnic and to date has 52 releases.

voir toutes les participations de Paul Dunmall
1992
 
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