Friday 27 July 2018, 7.30pm, OTO Project Space
A special launch for guitarist Ross Lambert's first solo release MAGNIT-IZ-DAT.
Produced by Earshots Recordings, these improvisations were recorded in one day in the Project Space, and various South London locations in the back seat of an old estate car.
For this concert there will be a solo set from Ross Lambert, and a guitar duet from Ross and Daniel Blumberg.
From Magnit-iz-dat sleeve notes:
“I had some thoughts and structure in my head like this: Dylan my dog; plywood, sand, trusses, cement, water, fasteners; new and old friends; my history in voluntary group working; and a few tunes, Blood Ulmer and etc. Some of it adhered and some didn't. I was thinking of documentary too, the location-based and the lyrical, something that 'speaks oot', as much as it's intimate, people-located, solo, place-located.
But what would happen? How do I adapt to the the situations of site and community? I can’t predict it, I must prepare to be open, an open book that absorbs and transmits as much as it speaks. In the same way that instrumental practice removes the lag of the circuit-board that is arms, hands and fingers, allowing ear to connect directly to projection and receiver in that information-rich feedback loop. I am a process as much as a thing […] playing like a child knowing I die when the sound ends. Which is a dilemma. I am Pincher Martin looking backwards and forwards unconsciously as fleeting moments expand in strange dimensions. That sense of doubt, of an ending, of form that structures itself with little intervention from the conscious side but nonetheless seeks structure.” [Ross Lambert, May 2018]
‘…Ross shares his tender musings and sometimes menacing meanderings without guile, anticipation or undue care. But with precision. He says: This is what it is. You work it out. This is a very personal, sometimes abrasive, treatment of lyricism tempered by an unbuttoned discursiveness of voice and guitar.’ [Eddie Prevost, May 2018]
Northern Irish (and London-based) guitarist and ‘magnetic and vibrating sources’ player Ross Lambert, has in his own words, the following fundamental and simultaneous approaches to live performance: to play as though it was both the first time and also the last; and to able to differentiate between what is good and worth conserving and what is not. Ross has been involved in, initiated and been a connector between a very wide variety of improvisatory music since his first exposure and (immediate) commitment to it, in Sheffield via Derek Bailey during the mid-1980s. Although under-recorded (he claims ‘by choice’), Ross has worked with a huge number of musicians from around the world, including Tetuzi Akiyama, Ami Yoshida, Jean-Luc Guionnet, Paul Hession, Rhodri Davies, John Butcher and Evan Parker, as well as his close friends Eddie Prevost, Seymour Wright, and Sebastian Lexer.
Daniel Blumberg is an artist and musician from London. Over the past decade he has released an extensive catalogue of music under different names, while forging ongoing collaborations with musicians, writers and filmmakers such as Neil Hagerty, David Toop and Brady Corbet. He is a prolific visual artist, described by Hans Ulrich Obrist as “one of London's most exciting emerging new artists”. Most recently Blumberg has been playing and recording at London's Cafe Oto, working intensively with a core group of improvisers consisting of violinist Billy Steiger, saxophonist Seymour Wright, double bassist Tom Wheatley and cellist Ute Kanngiesser. These regular sessions have culminated in the release of his debut eponymous record Minus on Mute Records (May 2018), accompanied by a companion LP of solos by the key players on the record including Dirty Three's Jim White. Alongside this OTORoku have released a live recording of the group and two discs by GUO, Blumberg's duo with Seymour Wright. Minus is a powerful and highly personal work, one that weds a free-music ethos to the rawest emotional songwriting. Live the material is radically reimagined from show to show, with a rotating cast of players pushing Blumberg's fragile songforms to their limits.