Thursday 26 May 2022, 8pm
"This residency was originally slated to happen in April 2020, but...well, you know. The line-up was a dream come true; and then it didn't. Looking forward to a time when it finally would happen was, for me, a big beacon sighted through the fog of the past two years." – Chris Corsano
Delighted to welcome the great Chris Corsano back to OTO for a four-day residency. One of the greatest drummers working today, Corsano has developed a percussive language of extraordinary amplitude and infinite resources. His collaborations stretch from free jazz greats (Joe McPhee, Paul Flaherty & more) to noise mavens (Bill Nace, C Spencer Yeh etc) and pop superstars (Björk). Capable of generating narrative out of permanent ecstasy, Corsano never ceases to be profoundly affirmative and imposing of his language, and being an absolute and charismatic virtuoso, he simultaneously is one of the most noble and generous improvisers of the few last decades.
"Corsano, as ever, is a joy to hear - it goes without saying that he has carved out a name for himself as one of the greatest improvisational drummers." - Derek Stone, Free Jazz Blog
Chris Corsano (b. 1975, USA) is a New York-based drummer who has been active at the intersections of collective improvisation, free jazz, avant-rock, and experimental music since the late 1990's. He's been the rim-batterer of choice for some of the greatest contemporary purveyors of "jazz" (Joe McPhee, Paul Flaherty, Mette Rasmussen, Zoh Amba) and "rock" (Sir Richard Bishop, Bill Orcutt, Jim O'Rourke), as well as artists beyond categorization (Björk for her Volta album and world tour, Michael Flower, Okkyung Lee).
Corsano began a long-standing, high-energy musical partnership with saxophonist Paul Flaherty in 1998. Their style, which they occasionally refer to with (semi-)tongue-in-cheek humor as "The Hated Music", combines modern free-jazz's ecstatic collectivism with the urgency and intensity of hardcore punk. A move from western Massachusetts to the UK in 2005 led Corsano to develop his solo music -- a dynamic, spontaneously-composed orchestra-of-one utilizing extended techniques for drum set, non-percussive instruments of his own creation (e.g. bowed violin strings stretched across drum heads), circular breathing on modified reed instruments, and stockpiles of resonant metals. He spent 2007-08 as the drummer on Björk's Volta world tour, all the while weaving in shows and recordings on his days off with the likes of Evan Parker, Michael Flower, and Jandek. He moved back to the U.S. in 2009 and continued touring in an ultrawide array of ever-evolving collaborations. In 2017 he won the Foundation for Contemporary Arts Grants to Artists Award. A renowned solo performer in his own right, Corsano has a new solo record, The Key (Became The Important Thing [and Then Just Faded Away] out on the Drag City label.
His dedication to collective improvisation has led to Corsano to join forces with many kindred spirits and his appearance on over 180 records and thousands of live performances. He's worked with, among others: Paul Dunmall (released by the label: ESP-Disk), Joe McPhee (Roaratorio), Okkyung Lee (Open Mouth), Bill Orcutt (Palilalia), Mette Rasmussen (Hot Cars Warp Records & Clean Feed), John Edwards (OTOroku & Dancing Wayang), Sylvie Courvoisier (Relative Pitch), Nate Wooley (No Business & Astral Spirits), Jim O'Rourke & Akira Sakata (Drag City & Polystar), Merzbow (Family Vineyard), Jessica Rylan (Load Records), Rodrigo Amado (Trost), Nels Cline (Strange Attractors), Heather Leigh (Volcanic Tongue), Ghédalia Tazartès (Ultra Eczema), Ken Vandermark (Audiographic), and Sunburned Hand Of Man (Manhand).
https://chriscorsano.bandcamp.com/music
@xcrswx [Crystabel Riley and Seymour Wright]
Contrasts:
the LIVE (evolved sounds/patience/relentless-ness);
and:
the ANDROID (cropped media [sounds+visuals]/impatience/edits);
e.g.;
Call Time/Hard Out 7"
https://soundcloud.com/feedbackmoves/sets/call-time-hard-out
plus;
Lookbook digital
https://soundcloud.com/cafeoto/tr008-xcrswx-lookbook-sample
and;
Fixes 10" [split]
Coming soon on Feedback moves.
John Edwards grew up in London and started experimenting with the bass guitar before he switched in his twenties to play double bass. He is deeply rooted in the creative free jazz and improvisation genre. Since the 80ties he is as soloist and in many groups and ensembles in Europe active and became one of the most renowned bass players. He played/plays regular for example with Peter Brötzmann, Joe Mc Phee, Phil Minton, Maggie Nichols, Evan Parker, Roscoe Michtell, Louis Moholo-Moholo, Mark Sanders, Caroline Kraabel, John Butcher, Pat Thomas, Irène Schweizer, Hans Koch, Florian Stoffner, Gabriele Mitelli, John Dikeman.
"I think John Edwards is absolutely remarkable: there’s never been anything like him before, anywhere in jazz." - Richard Williams, The Blue Moment
Caroline Kraabel is a London-based improviser.
In 2022 Kraabel brought together a large improvising group made up of all sorts of women, non-binary, and transgender improvisers: ONe_Orchestra New.
https://oneorchestranew.com/
Other active groups include:
Transitions Trio (with Charlotte Hug and Maggie Nicols); Fit To Burst, a song-based trio with Sarah Washington and John Edwards (https://carolinekraabel.bandcamp.com/album/fit-to-burst); a duo with Pat Thomas (on piano); the Poetry Quintet with Rowland Sutherland, John Edwards and Sofia Vaisman-Maturana, which incorporates live poetry from guest poets, including Moor Mother.
Kraabel has performed and recorded with many other excellent improvisers, including Robert Wyatt, Louis Moholo, Cleveland Watkiss, Hyelim Kim, Susan Alcorn, Veryan Weston, Mariá Portugal, Neil Metcalfe, Mark Sanders, Shima Kobayashi, and Chris Corsano.
Kraabel’s solo saxophone improvisations while walking in London and elsewhere with her infant child/ren in their pushcair were broadcast weekly 2002-2006 on Resonance 104.4 FM as Taking a Life for a Walk and more recently (without children) as Going Outside. Other radio work includes a series of interviews with improvisers in many media (music, dance, visual art, politics, activism), Why is Improvising Important.
Improvisers and Improvisation, made with John Edwards, is a 22-hour radio piece including music, noise, electronics, live performance and new interviews with improvisers; broadcast as part of 2022’s Radio Art Zone: https://radioart.zone/saturday-10-september
Some Kraabel compositions:
Performances for Large Saxophone Ensemble 1, 2, 3 and 4, for 21-piece spatial saxophone/voice ensemble; Get Used To Balancing, a suite of pieces for alto sax, percussion and two flutes; Now We Are One Two, a 45-minute solo performance; Recording The Other, for soprano, cello, flute, piano and four recording devices; LAST 1, 2 and 3 for pre-recorded voice (Robert Wyatt) and large ensemble; many songs; numerous pieces for large improvising ensembles in London and around the world, including Une note n’écoutant qu’elle-même and Missing.
Kraabel’s 40-minute soundfilm about lockdown London (London 26 and 28 March 2020: imitation: inversion, https://vimeo.com/505430655) received its avant-première at Café Oto in 2021, is available on the Jazzed app, and won the 2021 Ivor Novello Award for Sound Art Composer.
Kraabel conducted, devised pieces for, and played with the London Improvisers Orchestra (LIO) from 1998-2022, and organised their 20th anniversary celebrations, which featured celebrated LIO members from throughout the group’s history.
http://www.masskraabel.com/
https://carolinekraabel.bandcamp.com/
https://oneorchestranew.com/
https://oneorchestranew.bandcamp.com/releases
https://lonelyimpulsecollective.bandcamp.com/
https://jazzed.com/
