Tuesday 9 August 2022, 8pm
Finally, after an absence of over three years, here is the return of the trio of John Wall (computer), Mark Sanders (drums and percussion) and John Edwards (bass). What more can be said that isn’t just propaganda.
Born 1950.
Started composing 1990 and still going.
Played and collaborated with some good people.
There is no promotional visual youtube material.
go here https://johnwall.bandcamp.com/
and here https://utterpsalm.blogspot.com/
Mark has worked with many greats of the British, European and American free jazz improvised music scene including Roscoe Mitchell, Roswell Rudd, Evan Parker, John Butcher, Henry Grimes, Elaine Mitchener, Wadada Leo Smith, Myra Melford, Charles Gayle , Sirone and William Parker
He has also played with Jah Wobble, Harold Budd, Bill Laswell, Christian Marclay, International Contemporary Ensemble, Ilan Volkov and The BBC Scottish Symphony Orchestra.
He is a member of many working groups including duos with Nicole Mitchell and Rhodri Davies, Neil Charles' 'Dark Days' with Cleveland Watkiss & Pat Thomas, 'Last Dream of the Morning' with John Butcher & John Edwards, 'Shifa' with Rachel Musson and Pat Thomas and 'Sarost' with Larry Stabbins & Paul Rogers.
As an educator he has taught improvisation at many universities around the country as a lecturer and guest tutor.
Mark has played concerts and festivals around the world and appears on over 220 CD and Vinyl releases.
Mark was a recipient of the Paul Hamlyn Award for Artists 2024
"Drop the needle on the first track — or any track for that matter — and the first thing one is bound to notice is the amazing percussion skills of Mark Sanders" – Peter Thelen... Exposé
"Mark is just incredible and immensely diverse, he is at the center of "Kwingyaw" and it is difficult to tell what he is doing to get some of these sounds." – Bruce L Gallenter, Downtown Music Gallery, NY
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
Tom Mudd makes music with computers. Central themes are the relationships between software and music, software as material, and the histories and cultural lives of synthesis processes. Recent work has revolved around physical models: digital synthesis processes based on physical simulations of acoustic objects and instruments. Brass Cultures (Fancyyyyy) used massed brass synthesis; Guitar Cultures explored the guitar in similar fashion. Previous work, Gutter Synthesis, released on the Entr’acte label, explored similar themes with his own synthesis processes.
tommudd.co.uk
Composer of acoustic and electronic music, most often for live music ensembles and for symphony orchestras, performed in concerts in over fifty countries. He collaborated with Harold Pinter on a radio opera. He has taught in Austria, Germany and Azerbaijan. The Times wrote this: "James Clarke’s String Quartet No.2 was forceful, big-boned and unashamed of the sawmill screech; not a work you’d wish to meet alone in a dark alley." The Arts Desk reported that his music "was thrillingly, almost treasonably, un-British." His electronic work uses and transforms concrete sounds, frequently taken from his own orchestral or instrumental music.
