ECHO CHAMBER #19 – Freedom & Composition with Christoph Schiller, part 2

 

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I spent several days last summer with composer, improviser and spinet-player Christoph Schiller at his somewhat legendary studio in Basel. Given the concentrated subject matter, and the sheer length, of the discussions, I decided to make a three-part Echo Chamber special that deals overall with the question of freedom in musical composition:- composition as an emancipatory means to deeper reflexion and a more sincere gestural approach.

Composition in the sense we discuss it here becomes a tool that is more efficient in prying open interior dialogues within the musician than any score-less method; a tool whose sharpening is the result of a simultaneous rejection of Romantic ideals, various amalgamations with new technologies and improvised methods, and the embracing of the earliest written music practices.

The music you hear throughout this episode comes from Christoph’s bewildering piece Missa, recorded in Basel in 2016 and featuring many of the musicians and singers from the Millefleurs ensemble.

Find about more about Christoph on his website.

PS Don’t adjust your sound system! There’s an intermittent buzz in the right-hand channel of these recordings, due to my faulty Zoom microphone. Sorry.

news 2019

upcoming concerts and releases… . . . .  .  .  .  .  .   .   .   .   .    .

exciting things happening beginning with a secret concert in a secret cave with Ben Grossman (TBA), and ending for now towards the end of October with a solo release concert at the Ernestine concert series as I release my first solo album, out on the Creative Sources label.

More soon.

en commençant par un concert secret dans une grotte secrète, plus d’infos à venir,
et en terminant avec une performance solo pour les Ernestine series vers fin octobre, qui sera également soirée de sortie de mon premier album solo, ooh j’ai hâte moi aussi !

Plus de nouvelles bientôt.

ECHO CHAMBER #18 – Freedom & Composition with Christoph Schiller, part 1

 

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I spent several days last summer with composer, improviser and spinet-player Christoph Schiller at his somewhat legendary studio in Basel. Given the concentrated subject matter, and the sheer length, of the discussions, I’ve decided to make a three-part Echo Chamber special that deals overall with the question of freedom in musical composition:- composition as an emancipatory means to deeper reflexion and a more sincere gestural approach.

Composition in the sense we discuss it here becomes a tool that is more efficient in prying open interior dialogues within the musician than any score-less method; a tool whose sharpening is the result of a simultaneous rejection of Romantic ideals, various amalgamations with new technologies and improvised methods, and the embracing of the earliest written music practices.

I took great pleasure in choosing what music to accompany these conversations, what sounds of Christoph’s that I not only have a personal fondness for but that also best give some kind of musical parallel to the content of our discussions. For Freedom & Composition Part 1, Christoph’s joint album with violinist Anouck Genthon, Zeitweise leichter Schneefall (Newwaveofjazz, 2019) fits the bill perfectly.

Parts 2 & 3 will be out in the coming weeks.

Find about more about Christoph on his website.

PS Don’t adjust your sound system! There’s an intermittent buzz in the right-hand channel of these recordings, due to my faulty Zoom microphone. Sorry.

ECHO CHAMBER Episode 17 – Sébastien Branche

 

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Mon invité pour le dix-septième épisode fut le saxophoniste improvisateur Sébastien Branche. On s’est retrouvé chez lui à Leipzig en printemps pour prendre le thé et discuter les origines et la continuité de sa pratique de musicien expérimental, ainsi que celle de masseur shiatsu et professeur de mathématiques. Je m’intéresse beaucoup à son approche singulière et hyper-sensible envers un traitement musical du son, silence et bruit qui le mène sur un chemin que je trouve, il m’excusera, quasi-chamanistique.

Intéressé par les phénomènes perceptifs, il axe son travail principalement sur la matière sonore, se présentant avant tout comme un « faiseur de sons » qu’il donne à entendre. Il joue aujourd’hui dans le duo de saxophones Relentless, en duo avec l’altiste Cyprien Busolini ou avec Miguel Garcia à l’électronique, et en grand orchestre avec l’IMO. Il développe par ailleurs un travail en solo au saxophone ténor sur pied et électronique (Lignes), ou au soprano avec l’eau (saxoph2one). Il a joué en Europe dans divers festivals ou salles, pour des concerts, de la danse ou des balades sonores.

Cet épisode mets en écoute exclusivement l’éblouissant album Pnoladeu Avvrhig, deuxième sortie du duo de Sébastien avec Miguel A. Garcia.

Trouvez tout sur Sébastien, y compris ses autres sorties et où les acheter 😉 sur son site:

sebastienbranche.com

50 Things

Fifty years is a very long time, in any terms aside the geological. AMM’s The Crypt is a legendary recording for anyone touched by experimental, avant-garde, and underground music today. Like all artistic milestones, it not only impresses by its continuing influence but by its continuing force of being that makes you double-check it really was created such a long time before anything similar.

At the end of 2018, Sound and Music‘s Sam Mackay invited me to write an article for the British Music Collection’s 50 Things blog series. Produced by Sound and Music, this series “takes items from the British Music Collection as their starting point, highlighting lesser-known connections and marginal stories as well as familiar names and narratives. Featuring contributions from composers, performers, writers and broadcasters, #BMC50 Things will help build a rich picture of the backgrounds, practices and diverse perspectives that have shaped the landscape of new music in the UK.”

For the article, I focused on AMM’s legendary 1968 recording ‘The Crypt’, and got an immense joy out of not only listening to this again but really trying to put words to it, not forgetting the context into which it sprung, dating back to already half a century ago.

Here’s the track as found on YouTube, with the full article below:

Article by Ed Williams

This record came out just over 50 years ago. That is nuts.

Fifty years is a very long time, in any terms aside the geological. AMM’s The Crypt is a legendary recording for anyone touched by experimental, avant-garde, and underground music today. Like all artistic milestones, it not only impresses by its continuing influence but by its continuing force of being that makes you double-check it really was created such a long time before anything similar.

AMM as a group is, in the best sense possible, similarly prehistoric. Formed in 1965, they had only had a couple of years of experimentation before the Crypt session, but founding members Eddie Prévost, Keith Rowe and Lou Gare were already making free-jazz audiences of the time seriously reconsider the limits of their own radicality.

I’m wary of euphemistic and overenthusiastic adjectives to describe experiences like performances and recordings, and words like authentic, ethereal, and raw might be some of the most tempting to use and the most confusing. But how else to rationalize such an experience as experimental music performance? Its very nature is ethereal – or is it ephemeral? – in that it’s one of only a few successful methods humans have found to transcend everyday experience; the best performances often resembling a purgatorial distillation process of religious rites, sexual volatility and subliminal fantasy.

I’ll try to avoid authentic and ethereal (didn’t I just say purgatorial?), but if there’s one word that I might excuse to sum up AMM’s The Crypt, it’s raw. That holy grail of underground aesthetics, rawness, is present in every grating echo and serene siren song discernible in the maelstrom that is this recording. This is, may I remind you, FIFTY years ago. There’s scraping, screaming, ambiguous rattling, contributing to a cacophony of feedback (feedback! in the 60’s!). All common fare nowadays – go to any performance of music roughly within the ‘free improvisation’, ‘experimental’, ‘post-free-jazz’ or even ‘noise’ categories today and you’ll find the hallmarks of what AMM has been so influential for:- everyday instruments (especially saxes, kits, guitars, cellos, as in The Crypt) being distorted beyond recognition through extended techniques; everyday objects’ musical souls exorcised through contact mics; electronics simultaneously swirling in the background and creeping into your eardrums’ inner reaches. But this recording dates from June 12, 1968. The Beatles hadn’t even broken up yet.

Speaking of which, how did audiences react to this kind of thing? Paul McCartney apparently went to one AMM session and said it was too long. Who doesn’t feel that after their first improvisation session, looking around thinking “is everybody here seriously into this?” And that’s nowadays, after decades of digesting Ornette Coleman’s Free Jazz, myriad electronic musics, and all things Zappa. Imagine it over fifty years ago.

From a 2019 standpoint, this would still constitute a difficult, protracted listening session for even a seasoned audience – but that makes me so much happier than to think that something this remarkable should dilute with time and habit. It just goes to show how valuable this record is as an early leap into the rabbit hole of artistic exploration – one we’re still hesitant to follow.

© Ed Williams, 2019

Find this article, as well as a huge choice of engaging articles on the wide range of music the British Music Collection has to offer, here:

https://britishmusiccollection.org.uk/article/50-things-amms-crypt

ECHO CHAMBER Episode 16 – Yves Arques

 

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Yves Arques m’a rejoint l’été dernier pour une balade dans la forêt noire, à côté de la ville de Freibourg-im-Breisgau, où il habite depuis quelque temps. Nous avons profité de l’occasion pour discuter de mes sujets favoris – la vie de musicien, le pourquoi d’une pratique expérimentale dans l’art, l’inévitabilité d’une intellectualisation dans l’emploi des mots… et bien d’autres. Tout avec un fond sonore des insectes volants, des oiseaux, et des cyclistes de la forêt noire.

En 2011 il s’installe à Paris puis, un an plus tard, il débute sa collaboration en duo avec Gabriel Lemaire (saxophones) et intègre le TRICOLLECTIF. Le duo Lemaire/Arques publie son premier album « De l’eau la nuit » en 2015, sur la Tricollection.

En 2015 il forme l’Ensemble Maât, groupe à géométrie variable qui travaille au mélange de l’improvisation et de la composition.

Il travaille et joue régulièrement avec notamment Alexis Coutureau, Francisco Cossavella, Anouck Genthon, Joao Camoes, Luise Volkmann.

Les musiques que vous entendez au fil de la discussion viennent des morceaux suivants des projets à Yves:

  1. Clous et Roseaux (De L’Eau la Nuit, Lemaire/Arques, 2015)
  2. Extrait de Meditation #4 (Ensemble Maât, enregistré live aux Soirées Tricot, 2016)
  3. Eau Obscure (De L’Eau la Nuit, Lemaire/Arques, 2015)
  4. Eclipse (Charles Mingus) (Eclipse, 2017)

 

www.yvesarques.com/

ECHO CHAMBER Episode 13 – Paul Ramage

 

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Mon invité pour la quatorzième édition de Echo Chamber est violoniste, improvisateur et compositeur Paul Ramage. En se demandant où se mettre pour faire notre discussion sur la nature de la composition électroacoustique, l’influence des sons sur le corps, et l’envie de défaire en quelque sorte nos formations classiques, nous avons trouvé les couloirs ouverts du Conservatoire de Marseille comme emplacement idéal. D’ici, et dans l’enregistrement, on peut entendre des sons, parfois bien tempérés et parfois bien torturés, des cours de pratique instrumental, ainsi que d’autres sons de ce centre ville effervescent.

Paul commence son apprentissage musical à dix ans par le violon. Après une rencontre avec Didier Lockwood (dont il intègrera l’école en 2003), il s’intéresse au jazz et aux musiques improvisées. En 2013 il obtient son D.E.M de composition élèctroacoustique au conservatoire de Paris, dans les classes de Denis Dufour et Jonathan Prager. En 2012 et 2013, il suit les stages d’interprétation acousmatique Futura avec Jonathan Prager, Tomonari Higaki et Olivier Lamarche. Compositeur d’une vingtaine d’opus, tant acousmatiques que mixtes ou instrumental, il a joué et été joué dans divers pays (France, Japon, Etats Unis, Chine…). Aujourd’hui membre d’Alcôme  il s’emploi à faire vivre la création sur tous ses versants.

La musique qu’on entends au fil de l’épisode vient de nombreux titres que vous pouvez retrouver ici.

https://alcome.fr/equipe-alcome/paul-ramage/