Solo reed recordings from the fourteenth ONGAKU: enjoy-sound event.
"Solo wind playing relies entirely on the musician putting the forces of production into motion, by the interaction of breath with reed and mouthpiece, and of hands or other objects of the body of the instrument. Sounds can't be reduced in this context, they can only be processed at a lesser rate of occurence, or not at all. Come. Listen." - ONGAKU: enjoy-sound
Nathaniel Catchpole / tenor saxophone
John Butcher / tenor saxophone
Seymour Wright / alto saxophone
Kai Fagaschinski / clarinet
Lou Gare / tenor saxophone
Evan Parker / soprano saxophone
1. Maurice Brinton (NC) - 18:51
2. All Wright! (SW) - 12:17
3. Saxophony (LG) - 16:53
4. Manchmal glaube ich schon, daÃŸ es Ã¼berhaupt keine Liebe mehr gibt (KF) - 8:53
5. Ich kann im Fortschrift keinen Fortschift sehen (KF) - 13:50
6. 291/5 (JB) - 18:44
7. Solo for Hugh Davies (EP) 19:00
Recorded at 291 Gallery, in Hackney, London, UK on the 9th of January 2005 at an ongaku: enjoy_sound production. Recording engineer Ross Lambert. Front cover photograph by Alan and Meg Kemp - "Naturalists and Nomads."
Lou Gare is an English free-jazz saxophonist born in Rugby, Warwickshire, perhaps best known for his works with the improvised music ensemble AMM and playing with musicians such as Eddie Prévost, Mike Westbrook, Cornelius Cardew, Keith Rowe and Sam Richards. As a member of Synchronicity (Richards, David Stanley, Sarah Frances) from the 1990s through to 2002 he played throughout the Southwest and toured the Czech Republic.
"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee
Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO).
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time.
Seymour Wright lives in London. His practice is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential. This is an on-going, rigorous and exhaustive exploration of imaginations, instrument, spaces and strucutures. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’.
His solo work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
His current collaborations include: abaria with Ute Kanngiesser; a duet with Crystabel Riley; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; lll人 with Daichi Yoshikawa and Paul Abbott, a 'new jazz' trio with John Chantler and Steve Noble; an on-going inter-textual quartet with Paul Abbott, Cara Tolmie and Will Holder; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne. Bits of his writing has been published in C//A, Sound American and The Wire.
Butcher is well known as a saxophonist who attempts to engage with the uniqueness of time and place. His music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and unusual acoustics. Since the early 80s he has collaborated with hundreds of musicians – including Derek Bailey, Rhodri Davies, Andy Moor (EX), Phil Minton, Christian Marclay, Eddie Prevost, John Stevens’ SME, Gino Robair, Polwechsel, Mark Sanders, John Tilbury, and Okkyung Lee.
Alongside long term projects he values occasional encounters; from large groups such as the EX Orkestra & Butch Morris’ “London Skyscraper”, to duo concerts with Fred Frith, Akio Suzuki, Paal Nilssen-Love, Keiji Haino, David Toop, Otomo Yoshihide, Sophie Agnel and Matthew Shipp.
Recent compositions include “Penny Wands” for Futurist Intonarumori, two HCMF commissions for his own groups, “Good Liquor Caused my Heart for to Sing” for the London Sinfonietta and “Tarab Cuts”, a response to recordings of early Arabic classical music which was shortlisted for a 2014 British Composer’s Award.
“English saxophonist John Butcher may be among the world’s most influential musicians, operating at the cutting-edge of improvisatory practice since the ‘80s. Whenever an acoustic musician starts to sound like a bank of oscillators, a tropical forest, a brook or an insect factory, Butcher’s influence is likely nearby.” – New York City Jazz Record.