21:00 / 25 août 2005 / Noumatrouff

Peggy Lee violoncelle, Larry Ochs saxophone, Miya Masaoka koto.

Larry Ochs

Born in New York.

Rova Saxophone Quartet :
Since 1978, Ochs’s professional activities have been primarily centered around the Rova Saxophone Quartet, which has made over thirty European tours and numerous concerts throughout the U.S. and Canada, as well as recording over 30 CDs as a quartet and/or in collaboration with other artists.

Other performance groups :
In 1986, Ochs formed the group Room with Chris Brown and William Winant, a trio of saxophone, piano, computer electronics and percussion. The group continued performing and recording until 1994, and was one of the first bands to combine acoustic instruments and computer electronics in formal compositions that involved improvisation.

In 1990, he and keyboardist Wayne Horvitz formed The International Creative Music Orchestra for the Pan American Goodwill Games in Seattle with further performances at the Vancouver DuMaurier International Jazz Festival.
In 1991, he suggested a collaboration between Room and The Glenn Spearman Trio, a sextet that eventually became an ongoing band, and recorded 4 CDs as Glenn Spearman Double Trio. In 1993, he created a nine-piece group to perform a specially commissioned work for Antwerpen ’93 Festival entitled The Secret Magritte.

Also in 1993, he organized a saxophone octet (including the Rova quartet) to perform five compositions of his music at festivals in Austria and Germany. In 1994, Ochs joined with Lisle Ellis and Donald Robinson to form the ongoing trio, What We Live, which has toured in the US and Europe and recorded six CDs.

In 1995, he was a guest soloist with the George Lewis Creative Orchestra at Mills College in Oakland, California. Also in 1995, he performed and recorded with India Cooke’s group, Red Handed.

In 1997, he composed the 45 minute work Pleistocene for a 12 piece ensemble which was performed at The San Francisco Jazz Festival (as part of Rova’s 20th anniversary concert.) Also in 1997, Ochs first recorded with the John Lindberg Ensemble ; a tour and second recording took place in 1999 ; a third recording and tour followed in 2000.

In 1998, he toured and recorded with guitarist Fred Frith and koto-player Miya Masaoka in a trio called Maybe Monday. A CD was released by this trio on Buzz (Netherlands) in 2000. A second CD with guest Joan Jeanrenaud has been released in 2002 on Winter & Winter (Germany) in time for an 8 city European tour.

In 2000, Ochs organized the trio Larry Ochs Sax & Drumming Core with drummers Scott Amendola and Donald Robinson ; a first recording has been released on Black Saint in 2002, and their first European tour also took place in early 2002.

Ochs has composed some 2 dozen compositions for saxophone quartet as well as many other pieces for mixed ensembles (see groups mentioned in previous paragraph). His most recent composition for saxophone quartet, a thirty-minute piece entitled Certain Space, was commissioned by Chamber Music America / Doris Duke Foundation, and he has twice previously been commissioned by Commissioning Music USA / Meet the Composer Fund. He composed the music for the film Letters Not About Love which won best documentary film award at the 1998 South by Southwest Film Festival. His monograph on "Strategies for Structured Improvisation" was published in 1999 as part of the book Arcana, a collection of composers’ writings edited by John Zorn (Granary Press, New York). He has also composed for theater and one video play.

voir toutes les participations de Larry Ochs

Miya Masaoka

Miya Masaoka, musician, composer, performance artist, has created works for koto, laser interfaces, laptop and video and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body. Within these varied contexts of sound, music and nature, her performance work emphasizes the interactive, live nature of improvisation, and reflects an individual, contemporary expression of Japanese gagaku aural gesturalism.

Masaoka’s work has been presented in Japan, Canada, Europe, Eastern Europe and she has toured to India six times. Venues include V2 in Rotterdam, Cybertheater in Brussels, Elektronisch Festival in Groningen, the Cleveland Performance Art Festival, The Electronik Body Festival in Bratislava, Slovakia, Radio Bremen, Germany, Festival of Lights, Hyberadad, India, and the London Musicians Collective.

Since forming and directing the San Francisco Gagaku Society, Masaoka has been creating new ways of thinking about and performing on the Japanese koto. She has developed a virtuosic and innovative approach, including improvisation and expanding the instrument into a virtual space using computer, lasers, live sampling, and real time processing.

Masaoka has been developing koto interfaces with midi controllers since the 1980’s originally with Tom Zimmerman, co-inventor of the Body Glove. Since then, she has she has worked at STEIM, Amsterdam, CNMAT, and with Donald Swearingen to build interfaces with the computer and koto, at times using pedals, light sensors, motion sensors and ultrasound. With the koto connected directly to her laptop, she records her playing live, and processes the samples in real time. This new koto is able to respond dynamically and interactively in a variety of musical environments, and improvise with the processed sounds.

voir toutes les participations de Miya Masaoka

Larry Ochs est un saxophoniste que l’on voit peu sur nos scènes européennes. Ses formations ont pour la plupart des instrumentations originales comme le trio Drumming Core avec deux batteries, le quatuor de saxophones Rova ou encore le trio Maybe Monday où Miya Masaoka était accompagnée de Fred Frith. Le koto est un instrument japonais de la famille des cithares au nombre de cordes variables (de 17 à 25 pour ceux de Masaoka) et équipé de chevalets mobiles qui permettent un accord particulier selon les pièces du répertoire. Très portée sur la musique contemporaine, Miya Masaoka mène des recherches sur l’invention d’interfaces électroniques propres à son instrument. Peggy Lee, quant à elle, a joué principalement avec ses compatriotes canadiens mais aussi avec Carlos Zingaro et Le Quan Ninh. Proche de Maybe Monday dans l’esprit, ce trio en est pourtant très différent par l’absence d’instrument réellement électrique. Il s’agit bien plus d’une musique de chambre subtile où violoncelle et koto apportent une note boisée parfaitement assortie à la chaleur du saxophone ténor de Larry Ochs.

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