12:30 / Jeudi 25 août / Chapelle Saint Jean

Paul Dunmall cornemuse.

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

Paul Dunmall fait partie de ces musiciens qui, bien qu’ils fassent l’unanimité à la sortie des concerts, sont très peu présents dans les clubs et festivals français. On a pu l’écouter il y a cinq ans à Mulhouse avec Mujician. Il revient aujourd’hui en solo avec un projet très personnel aux bagpipes, équivalent écossais de nos cornemuses continentales. Sans rien ignorer du répertoire folklorique, il propose sur cet instrument une musique contemporaine en grandes lignes continues brodées de mélodies, de cris et de souffles. Le jazz s’immisce parfois ici où là mais ce qui persiste, c’est l’impression d’un folklore qui n’aurait pas de territoire.

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