27.08.2015 - Noumatrouff - 22:30

Peter Evans trompette, Evan Parker saxophone, Paul Lytton batterie, Barry Guy contrebasse.

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

voir toutes les participations de Barry Guy

Excellence, spontanéité, jouissance, autant de termes qui peuvent décrire la musique du trio comme le ressenti esthétique ou émotionnel que l’auditeur peut en retirer. Ou comment faire rentrer en 600 signes un descriptif du plaisir de jouer ensemble, pleinement partagé au niveau de la vue et de l’ouïe, sans tomber dans l’emphase, les coquilles vides et autres raccourcis trompeurs ? Comme au premier jour, l’ardeur avec laquelle ces musiciens (ce soir avec le magistral Peter Evans à leurs côtés) défendent tous les codes de la free music – à savoir qu’ils sont faits pour être remodelés et dépassés – force le respect. Qu’on se le dise !
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Excellence, spontaneity and enjoyment are all terms that can be used to describe this trio’s music as well as the aesthetic or emotional feeling that the listener might derive from it. How can you write a 600-character description of the pleasure of playing together, on both a visual and auditory level, without producing something that is pompous, meaningless or riddled with misleading shortcuts ? The zeal with which these musicians still (tonight playing alongside the excellent Peter Evans) defend all the codes of free music – namely that they are made to be redesigned and surpassed – commands respect. Spread the word !

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