Sunday 1 July 2018, 7.30pm
Very pleased to welcome back Japanese Noh flutist Yukihiro Isso and drummer / percussionist Roger Turner following on from the great response to the release of their 2015 duo performance here on the OTOROKU label. Isso is from a family that has been playing the Noh Flute since the 16th century. An acclaimed performer of classical Noh repertoire, Isso is also a accomplished improviser and has performed with the likes of Cecil Taylor, Peter Brötzmann, and John Zorn. Tonight they're joined by cellist Ute Kanngiesser for a very special trio performance.
With support from:
Born into a familiy of Japanese Noh flute of Isso School (hayashi-kata fue-kata) which has been playing the instrument since the 16th century, Yukihiro received his initial instruction in Nohkan flute playing from his late father and master Yukimasa Isso . His first Noh stage performance was when he was nine years old.
Yukihiro’s diverse interest and love of music has led him to perform western music, particularly baroque, jazz and world music. Yukihiro has a deserved reputation for improvisation. He is associated with many different forms of the performing arts and has collaborated with top performers in several diverse fields including Cecil Tailor (Jazz piano), Evan Parker (sax), Roger Turner ( percussions), John Edwards (bass), Min Tanaka (butoh dance), Mansai Nomura (kyogen), Kaiji Moriyama (contemporary dance), Kaori Muraji (guitar), as well as the Saltzburg Mozaruteum (Octet).
In 2011 Yukihiro performed Ikuma Dan’s Symphony No. 6 Hiroshima for soprano, nohkan, shinobue and orchestra (1985) with the Yomiuri Symphony Orchestra conducted by Tatsuya Shimono, which went on to receive the 24th Music Pen Club Award (Classical Music Section).
In 2012 Yukihiro started his concert series “Let’s Go to Noh Theatre”, aiming to encourage Japanese audiences to enjoy the experience of Noh theatre. Yukihiro recently appeared in music clubs in London at Café OTO, IKLECTIK and The Victoria in Hackney (Neoclassical) and took London audiences by surprise with his improvisation skill and simultaneous playing of 5 flutes.
Over decades Roger Turner has brought the renowned volcanic power and finely honed precision of his drum work to ensembles that have often forged real connections with musicians both sides of the Atlantic. In addition he has worked extensively in the microscopic laboratory of the acoustic duo situation where he acquired a highly developed sense of detail and of dynamic control. One of that select group of world-class players who have collectively redefined the language of contemporary percussion. In Turner's hands minute inflections of tension can shape the group's musical direction and galvanise a new level of audience experience.
Ute Kanngiesser is a London based in musician from Germany. She has played classical cello since early childhood and turned to improvisation and experimental music while training in physical theatre and dance in Berlin. Since then, she has radically deconstructed her classical roots and focussed on the immediate material of her instrument - its limitless resonance and pulse, its potential for an elemental music that dissolves conventional notions of rhythm and pitch and what it means to be lyrical. Along this journey she has worked with some of the most influential players of free music and experimental composition, as well as artist film makers, writers and architects.
Most recent collaborations have been with John Tilbury, Seymour Wright, Paul Abbott, Billy Steiger, Angharad Davies, Steve Noble, Crystabel Riley, Rie Nakajima, Daniel Blumberg, Jim White, Eddie Prevost, John Butcher, Evie Ward, Tom Wheatley, Jennifer Allum, Marjolaine Charbin, Dimitra Lazaridou Chatzigoga, Keiko Yamamoto, Phil Minton, Pak Yan Lau, Assemble, and Keira Greene.
Her music has been released on Otoroku, Matchless, Earshots, Another Timbre and Mute. www.utekanngiesser.com
Words about Ute Kanngiesser's solo release Geäder (Earshots):
"Automatic writing almost, or a fugue state. Arriving at an end point is an exhaustion, almost like waking from a dream. You look back at what has been created with bafflement. Footprints on a beach you can’t remember. You marvel: what have I done?" – We Need No Swords
"[...] environmental sounds captured in Hackney as a spur for improvisation; nasal bowing sounds, percussive fanfares, unspooling loops of harmonics that crack upon impact – whole sides to the cello normally shut down by conventional technique." - The Guardian