Tuesday 24 September 2019, 7.30pm
Very pleased to present a two-day residency with Lebanese musician, writer and illustrator, Mazen Kerbaj, who has helped break new ground in Beirut's free improvisation and experimental music scenes.
As a trumpet player, Kerbaj has collaborated and performed with a number of respected artists, among them French-Lebanese saxophonist Christine Sehnaoui, the Ariha Brass Quarter with Axel Dörner, percussionist Sven-Åke Johansson and Mats Gustafsson. His Al Maslakh label was established in 2005 as the first experimental outlet the country, and a second imprint, Johnny Kafta's Kid's Menu, was created in 2009 following a collaboration with Lebanese punk-rock outfit Scrambled Eggs.
In 2000, alongside Sharif Sehnaoui, Kerbaj founded the MILL association and associated Irtijal Festival, the longest-running festival for non-conformist contemporary music in Lebanon. Billing esteemed artists from throughout the region alongside contemporaries from the European circuit such as Gert-Jan Prins, Sam Shackleton, Miles Whittaker, and Rabih Beaini's Upperground Orchestra and Morphosis projects, Irtijal is widely regarded as the most prominent assembly for experimental music in the Arab world.
Kerbaj is the author of numerous books, and his comics and short stories have been published in anthologies, newspapers and magazines in Lebanon, Europe and the States. His visual works have been shown in both solo and group exhibitions in Lebanon, France, England, Spain, Sweden, Germany, Switzerland, Australia, Dubai, Malaysia and the US. He currently lives and works in Beirut.
“The series of preparations he put his trumpet through that evening was truly revelatory.” – Nate Wooley
Steve Beresford has been a central figure in the British and international spontaneous music scenes for over fifty years, freely improvising on piano, objects, electronics and other things with people like Derek Bailey, Evan Parker, Han Bennink and John Zorn. Long-standing groups have included Alterations (with David Toop, Terry Day and Peter Cusack), The Melody Four (with Lol Coxhill and Tony Coe, both RIP) and London Improvisers Orchestra.
He has written songs, composed for large and small ensembles, and scored short films, feature films, TV shows and commercials. He was part of the editorial teams of ‘Musics’ and ‘Collusion’ magazines, writes about music in various contexts, and was a senior lecturer in music at the University of Westminster.
Steve has worked with Christian Marclay on various Marclay mixed media pieces. He has also worked with The Slits, Najma Akhtar, Stewart Lee, Ivor Cutler, Prince Far-I, Alan Hacker, Tania Chen, Louis Moholo-Moholo, Faradena Afifi, Blanca Regina, Ray Davies, Mandhira De Saram, The Flying Lizards, Zeena Parkins, The Portsmouth Sinfonia, Ilan Volkov, Rachel Musson, Vic Reeves, Lore Lixenberg, Valentina Magaletti and many others.
Beresford has an extensive discography - around 500 releases - as performer, arranger, free-improviser, composer, conductor and producer. He was awarded a Paul Hamlyn award for composers in 2012.
In 2021, Bloomsbury published a book by Andy Hamilton: ‘Pianos, Toys, Music and Noise: Conversations with Steve Beresford’.
In 2022, Siglio published the book ‘Call and Response’, which partnered photographs by Christian Marclay with notated improvisations by Beresford.
John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. 
Perpetually in demand, he has played with Evan Parker, Roscoe Mitchell, Sunny Murray, Derek Bailey, Joe McPhee, Lol Coxhill, Louis Moholo, Peter Brötzmann, Mulatu Astatke, Jonny Greenwood and countless others.
"I think John Edwards is absolutely remarkable: there’s never been anything like him before, anywhere in jazz." - Richard Williams, The Blue Moment
Born in Brighton and living in London, John Butcher is a saxophonist whose work ranges through improvisation, his own compositions, multi tracked pieces and explorations with feedback, unusual acoustics and non-concert locations. He is well known as a solo performer who attempts to engage with a sense of place. Resonant Spaces, for example, is a collection of performances recorded during a tour of unusual locations in Scotland and the Orkney Islands.
Butcher originally studied Physics, but after publishing a PH.D (1982) on quantum chromodynamics he left academia and took off with music. He has since collaborated with hundreds of artists, some for many decades, including Derek Bailey, Eddie Prévost, Angharad Davies, John Stevens’ Spontaneous Music Ensemble, Okkyung Lee, Andy Moor, Sophie Agnel, Christian Marclay, Pat Thomas, Phil Minton, Rhodri Davies, Tony Buck, Magda Mayas, John Russell, Chris Corsano, Steve Beresford, Ståle Liavik Solberg, and Matthew Shipp.
Additionally he values occasional encounters - with large groups ranging from the WDR Sinfonieorchester (as soloist), and the 20+ piece EX Orkest to duos with Akio Suzuki, Liz Allbee, Keiji Haino, Isabelle Duthois, David Toop, Mariam Rezaei, Fred Frith and Joe McPhee.
Recent compositions include “Fluid Fixations” (an hcmf commission), “Penny Wands” for Futurist Intonarumori, “Good Liquor…” for the London Sinfonietta and “Tarab Cuts” (shortlisted for a British Composer’s Award).
"Over 40 years of sustained performance and publishing, English saxophonist, improvisor and composer John Butcher has shaped much of what soprano and tenor saxophone can do, and what their roles and vocabulary in improvised music might be. I’ve always heard Butcher’s playing as a kind of nose-to-tail saxophony, where the whole instrument from reed-tip to brim of bell is available, accessible and articulate. Few other saxophonists slice as sharply back into the physical history, material (and physics) of the instrument, across its near 200 year history. When Hector Berlioz wrote of his friend Adolphe Sax’s then fresh invention, “the varied beauty of its accent, sometimes serious, sometimes calm, sometimes impassioned, dreamy or melancholic, or vague”, he could have been imagining Butcher's distinctively clean but complex, enquiring soundworld." WIRE - October 2024. The Primer by Seymour Wright
