Saturday 25 February 2023, 8pm
Tonight, we celebrate Maggie’s 75th birthday with a personally curated show featuring two trios and a duo.
In 1968 Maggie Nicols joined John Stevens’ Spontaneous Music Ensemble with Trevor Watts. Since then, she has worked a host of historically important groups/orchestras including Centipede, Voice, Talisker amongst many others. Maggie was behind the formation of the Feminist Improvising Group and Contradictions as well as working with pianist Irene Schweizer and bassist Joelle Leandre in the legendary trio, Les Diaboliques.
Programme:
- Aniruddha Das / Ansuman Biswas / Maggie Nicols trio
- Phil Durrant / Emil Karlsen / Maggie Nicols trio
- Mariam Rezaei / Alya Al-Sultani duo, joined by Maggie
Maggie Nicols joined London's legendary Spontaneous Music Ensemble in 1968 as a free improvisation vocalist. She then became active running voice workshops with an involvement in local experimental theatre. She later joined the group Centipede, led by Keith Tippets and in 1977, with musician/composer Lindsay Cooper, formed the remarkable Feminist Improvising Group. She continues performing and recording challenging and beautiful work, in music and theatre, either in collaborations with a range of artists (Irene Schweitzer, Joelle Leandre, Ken Hyder, Caroline Kraabel) as well as solo.
Aniruddha Das (the “Ani” of “Ani-Roy”) is an experimental electronic musician better known as “Dhangsha”. His collaboration in Ani-Roy showcases his lesser known talent as a programmer of melodic and syncopated TB acid lines - indeed it is he who is responsible for all of the acid bass parts in Ramjac Corporation’s live set. His low end and rhythmic sensibility is a consequence of his previous incarnation as dub bassist “Dr Das.”, from which he was a founder of Asian Dub Foundation. As Dhagsha he recently supported international political noise renegades Yao Bobby & Simon Grab on their UK tour, which kicked off at Cafe Oto.
Ansuman Biswas has an interdisciplinary practice encompassing music, film, live art, installation, writing and theatre.
He has worked as a composer and musician in a wide range of contexts from jazz to Indian Classical music, pop songs to industrial noise. He has been commissioned by the Sonic Arts Network, the National Theatre, the Royal Ballet, the English National Opera and Guangdong Modern Dance Company in China.
He has worked with the BBC, Channel Four, MTV, Royal Opera House and The Bournemouth Symphony Orchestra. He has shown visual art at Tate Modern, The South London Gallery, The Whitechapel Gallery, the ICA.
Born near London in 1957, Phil Durrant is a multi-instrumentalist improviser/composer/sound artist who currently performs solo and group concerts.
As a violinist (and member of the Butcher/Russell/Durrant trio), he was one of the key exponents of the "group voice approach" style of improvised music. In the late 90s, his trio with Radu Malfatti and Thomas Lehn represented a shift to a more “reductionist” approach.
Recently, he has been performing solo and duo concerts with Bill Thompson, Mark Wastell, using a modular synthesizer system. As a mandolinist, he has been performing and recording with guitarist Martin Vishnick, mandolinist Richard Scott and drummer Emil Karlsen.
Durrant still performs regularly with the acoustic/electronic group Trio Sowari (with Bertrand Denzler and Burkhard Beins) and Mark Wastell’s The SEEN.
Emil Karlsen (b.1998) is a Norwegian improvising drummer currently based in the UK. Described as a “significant addition to the UK free jazz scene” and an “exceptional improv drummer”, he’s establishing himself on the improvised music circuit working the span from free improvisation to free jazz. Occupied with exploring the timbral and sonic possibilities of the drum kit, he performs with Philipp Wachsmann, Matthew Bourne, Phil Durrant, Maggie Nicols, Ed Jones, and the London Improvisers Orchestra amongst many others. Recently, Emil has been behind the relaunch of the historically important Bead label.
Mariam Rezaei is a multi-award winning composer, turntablist and performer. She previously led experimental arts project TOPH, TUSK FRINGE and TUSK NORTH, and in November 2022, received the Paul Hamlyn Foundation Awards For Artists in recognition of her contribution to music composition. Her music has recently been described as ‘genuinely ground-breaking’ (London Jazz News 2022) and ‘high-velocity sonic surrealism’ (4* The Guardian 2022). Recent releases include ‘BOWN’ on Heat Crimes, 'SADTITZZ' and ‘SKEEN'. Recent performances include Turntable Trio with Evicshen and Maria Chávez at Counterflows/ REWIRE 2023, and as soloist and co-composer of ‘6 Scenes for Turntables and Orchestra’ with Matt Shlomowitz for ICTUS/Frankfurt Radio Orchestra, for the final concert at IM Darmstadt 2023.
Recent collaborations include Joan La Barbara, Evicshen, Maria Chavez, Maggie Nicols, Black Top (Pat Thomas & Orphy Robinson), Lasse Marhaug, Rhodri Davies, Angharad Davies, Alya Al Sultani, Mette Rasmussen, Audrey Chen, Elaine Mitchener, Will Guthrie, Lukas Koenig, Julien Deprez, Kenosist, Gwilly Edmondez and Elvin Brandhi.
Upcoming performances include ‘Azadi/Freedom’ with London Sinfonietta at HCMF 2023; Tehran Contemporary Sound, Berlin; Another Sky, London; 6 Scenes for Turntables & Orchestra with Brussels Philharmonic/ICTUS Ensemble, Brussels, Antwerp & Glasgow; GIOFest 2023, Glasgow; Taipei Biennial 2023, Taiwan.
Alya Al-Sultani is a vocalist and composer based in London, UK. Her first musical experiences were Iraqi folk songs sung by her great grandmother and radio broadcasts of Um Kolthum, Abdel-Halim and Fairouz which she listened to with her family while drinking sweet black tea infused with cardamom. After leaving Iraq during the Iran-Iraq war, her family settled in Tottenham, North London where she began to discover the incredible new sounds of the 80s and music from the Caribbean.
Her musical education was entirely classically-focussed, on piano and voice. She learned the importance of technique, tradition, theory, respecting fellow musicians and respecting the music. But she did not learn freedom and it is this she has sought for the last decade. The pursuit of freedom in music is driven by her aesthetic, her immigrant experience and her Eastern feminism.
Apart from working on her own projects, Alya enjoys debuting new music for contemporary composers and experimenting with opera, including the integration of improvisation techniques, microtonal ideas and Eastern influences.
