Sunday 8 March 2015, 8pm
Two nights featuring five of Sweden's top improvising musicians – the first night event in a touring series. With a continuously changing set up, each concert will be a totally improvised experience for both Here Here! and local invited musicians, as well as for the audience.
The events will be filmed in Super-8 by the awarded Swedish filmmaker Mårten Nilsson and recorded for album release.
- Lisa Ullén / piano
- Sofia Jernberg / voice
- David Stackenäs / guitar
- Ida Lundén / live electronics & objects
- Nina de Heney / double bass
Hear Here will be joined by Ute Kanngiesser and Seymour Wright. They bring a complex and intense notion of the 'local', creative history, and the increasingly-bizarre, post-genre present of the communities close to cafe OTO to the two nights of meetings of this project.
The two have played together as a duo – which they now call abaria (they also currently collaborate as parts of lll人lll and Hebronix) – most weeks since 2011. Much of this playing has taken place in the OTO project space.
Lisa Ullén is one of Sweden’s most influential pianists in contemporary music, and a regular on the free- jazz and improvisational scene. Internationally recognized as a distinctive and uncompromising composer and musician, She has toured in Europe, the USA, Canada and Japan. Ullén now releases her second solo cd , Piano Works – a triple CD of solo piano recordings – as well as the vinyl EP Sekvenser och Lager (Sequences and Layers) with Motståndsorkestern (the Resistance Orchestra), which contains Ullén’s compositions for a bigger band, in which no less than four double basses provide a solid foundation.
“Extraordinary is all I can say as I dive in to her unique approach. /…/Amazing piano, some of it prepared, which should appeals to fans of John Cage as well as of Cecil Taylor.” – Bruce Lee Gallanter, Downtown Music Gallery
”Ullén takes a measured approach at the cusp of improvised music and contemporary classical, with silence also a big player. Cecil Taylor and John Cage might provide touchstones, but what Ullén does cannot be confused with either. ..And through it all resides the sense of a fiercely- focused intelligence at work”. – John Sharpe, All About Jazz 2018
Singer and composer, born in Ethiopia in 1983 and currently based in two cities: Oslo, Norway and Stockholm, Sweden. As a singer she is developing the “instrumental” possibilities of the voice. Sofia’s singing vocabulary includes sounds and techniques that often contradict a natural singing style. She has dug deep into split tone singing, pitchless singing and distorted singing.
“...it is the singing that is most impressive. Jernberg's vocal agility is sweeping, analogous, conceivably, to the range of sounds that Wadada Leo Smith can generate with the trumpet. She is a phenomenon that merits attention.” – Karl Ackermann, All About Jazz
David Stackenäs works in the field of contemporary jazz and free improvised music. Over the years he has developed a unique way of playing guitar – both prepared sith different materials as well as conventional technique and a growing armada of pedals. He creates music with great imagination and poetry.
”Creating something different – not to mention memorable, with the world’s most popular instrument, the guitar, often seems as unlikely as winning the national lottery. Yet Swedish guitarist David Stackenäs has done so on this short, cunningly enigmatic disc.” – Ken Waxman, Jazz Weekly
The creative works of Ida Lundén is defined of a stringent playfulness and openness . It has resulted in a constantly developing instrumentarium from pianos, organ and home made synthesizers to call pipes mechanical toys and other objects. She has been composer in residence by Swedish Radio and has collaborated with sound artists and poets.
“I’ve rarely heard electrical waves touching each other in this matter, or experienced changeable tonal sounds almost eroded and yet forming a fundament for listening. The piece is absolutely enchanting, definitely by Moris most distinct standard. With Lundén a razor sharp light is added forming gaps in the music” – Thomas Millroth, Soundofmusic.
Growing up in Switzerland before moving to US for studies for Mirsolav Vitous at The New England conservatory of Music in Boston. From 1983 Nina has lived in Sweden, free-lancing on the jazz and improvisation scene. She is currently focused on solo bass which has resulted in three albums. 2008 she founded with dancer Annan Westberg the festival Dance´n Bass.
“These masterful improvisations put de Heney in a league of her own in the elite of solo double bass improvisers such as Joëlle Léandre, Barry Guy, Mark Dresser and Barre Phillips. A brilliant achievement by a highly unique player.” – Eyal Hareuveni, All About Jazz
Ute Kanngiesser is a London based in musician from Germany. She has played classical cello since early childhood and turned to improvisation and experimental music while training in physical theatre and dance in Berlin. Since then, she has radically deconstructed her classical roots and focussed on the immediate material of her instrument - its limitless resonance and pulse, its potential for an elemental music that dissolves conventional notions of rhythm and pitch and what it means to be lyrical. Along this journey she has worked with some of the most influential players of free music and experimental composition, as well as artist film makers, writers and architects.
Most recent collaborations have been with John Tilbury, Seymour Wright, Paul Abbott, Billy Steiger, Angharad Davies, Steve Noble, Crystabel Riley, Rie Nakajima, Daniel Blumberg, Jim White, Eddie Prevost, John Butcher, Evie Ward, Tom Wheatley, Jennifer Allum, Marjolaine Charbin, Dimitra Lazaridou Chatzigoga, Keiko Yamamoto, Phil Minton, Pak Yan Lau, Assemble, and Keira Greene.
Her music has been released on Otoroku, Matchless, Earshots, Another Timbre and Mute. www.utekanngiesser.com
Words about Ute Kanngiesser's solo release Geäder (Earshots):
"Automatic writing almost, or a fugue state. Arriving at an end point is an exhaustion, almost like waking from a dream. You look back at what has been created with bafflement. Footprints on a beach you can’t remember. You marvel: what have I done?" – We Need No Swords
"[...] environmental sounds captured in Hackney as a spur for improvisation; nasal bowing sounds, percussive fanfares, unspooling loops of harmonics that crack upon impact – whole sides to the cello normally shut down by conventional technique." - The Guardian
Seymour Wright’s work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential.
His solo work is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
Current projects include: abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; @xcrswx with Crystabel Riley; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.
His writing has been published in C//A, Sound American and The Wire.