Tuesday 12 September 2017, 7.30pm
“British jazz's new king.” – Jazzwise
Delighted to welcome saxophonist, band leader and composer, Shabaka Hutchings to OTO for a three day residency spanning the wide range of his constantly evolving creative output.
PROGRAMME - DAY TWO
Q&A hosted by Kevin Le Gendre
SET 1
John Edwards / bass
Mark Sanders / drums
Shabaka Hutchings / sax
SET 2
Pat Thomas / keyboard
Roger Turner / drums
Shabaka is a multi-instrumentalist and composer who came to prominence within the London scene playing bands Sons of Kemet, the Comet is Coming and Shabaka and the Ancestors. At the start of 2024, he announced a hiatus from the saxophone, and since then has been composing material for the various flutes he is engaged in studying. Collaboration and the idea of developmental change being central to artistic practice is the driving force behind Shabaka’s live sets, which are constantly evolving and striving to reflect an up-to-date account of a creative mind in flow.
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
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
Pat Thomas studied classical piano from aged 8 and started playing Jazz from the age of 16. He has since gone on to develop an utterly unique style - embracing improvisation, jazz and new music. He has played with Derek Bailey in Company Week (1990/91) and in the trio AND (with Noble) – with Tony Oxley’s Quartet and Celebration Orchestra and in Duo with Lol Coxhill.
"Sartorially shabby as Thomas may be, and on first impression even rather stolid, he has a somewhat imperious charisma that’s immediately amplified when he starts to play. Unlike other pianists whose virtuosity seems to be racing ahead of their thought processes Thomas always seems supremely in command of his gift, and his playing, no matter how free and ready to tangle with abstraction, always carries a charge of authoritative exactitude." - The Jazzmann
Born 1946, ROGER TURNER grew up amongst the Canterbury musical life of the 1960s with a strong foundation in jazz. Since 1974 his work has been focused on exploring a more personal percussion language through the processes of improvisation. Solo performances, connections with experimental rock music & open-form song, extensive collaborations with dance, film and visual art, and involvements in numerous jazz-based ensembles and workshop residencies have all formed part of that development.
Kevin Le Gendre is a journalist and broadcaster with an interest in black music, literature and culture. Since the late 90s he has written about soul, jazz, African and Caribbean musicians and authors for a wide variety of publications that includes Echoes, Jazzwise, The Independent, The Guardian and Vibrations [Switzerland]. He has also contributed to and presented programmes for BBC Radio 3 and 4 such as Jazz Line Up and Front Row. In 2013 his first book Soul Unsung: Reflections On The Band In Black Popular Music was published to critical acclaim by Equinox.
