Gunda Gottschalk, violin / D
Peter Jacquemyn, bass / Belgium
Seit über 20 Jahren kultiviert dieses belgisch-deutsche Duo den Saiten-Dialog.
Gunda Gottschalk, aus der Klassik kommend, im „Global Village“ zuhause, durch die Begegnung mit Peter Kowald tief eingetaucht in die Galaxis der freien Improvisation ist europaweit auf Festivals für zeitgenössische und improvisierte Musik vertreten.
Sie hat in Peter Jacquemyn einen kongenialen Partner gefunden. Der Belgische Bassist kommt aus der visuellen plastischen Kunst: Seine Holzplastiken entstehen zum Teil mit der Kettensäge. Eine ähnliche, ungebremste Energie erlebt man in seinen Konzerten.
Seit 1999 die gleichnamige Duo-CD "E Pericoloso Sporgersi" erschienen ist, war es unser Wunsch, dieses Duo irgendwann zu realisieren – ein weiteres Langzeit-Projekt, das nun zu einem guten Abschluss kommt.
Roger Turner, drums / GB
Phil Minton, voice / GB
Urs Leimgruber, saxophone / CH
Alle drei Musiker konnten wir schon mehrmals bei den Offenen Ohren begrüßen, aber auch anderswo in München. So war Phil Minton erst im letzten November beim ICI Ensemble zu Gast. Roger Turner kam zuletzt 2014 im Quartett WTTF in den MUG. Urs Leimgruber brachte Ende 2015 zum zweiten Mal Barre Phillips und Jacques Demierre mit zu uns; ein Logbuch über diese Trio-Jubiläums-Tour mit dem Titel "Listening" ist übrigens mittlerweile bei Lenka lente erschienen.
Das Duo Minton-Turner - erstmals dokumentiert bei einem Auftritt in London 1993 mit der legendären CD "Dada-da" - existiert seit weit über drei Jahrzehnten. Etwas jüngeren Datums ist die Zusammenarbeit des englischen Schlagzeugers mit dem Schweizer Saxofonisten Urs Leimgruber ("the pancake tour" von 2011). Hier tritt die Kunst des multiple-fraktalen Gestaltens der Saxofonstimme bereits deutlich zutage, ähnlich wie in seinem Solospiel.
Mit beiden Duos waren wir in Gesprächen und so dauerte es nicht lange, und dieses Trio Leimgruber-Minton-Turner war geboren. Im Rahmen seiner Premierentour wird es natürlich im MUG Station machen.
Dieses Konzert sollten Sie sich nicht entgehen lassen!
Dafne Vicente-Sandoval, fagot / F
Pascal Battus, percussion / F
Zwischen Marne und Seine, zwischen Elektronik und Akustik changieren die Soundwelten der beiden französischen Klangkünstler.
Pascal und Dafne schaffen verletzliche, vergängliche Musikwelten mit ruhigen wie energiegeladenen Momenten, zwischen Melodie und Noise, und balancieren kontinuierlich auf dem schmalen Grat zwischen höchster Anspannung und totalem Relaxing – ohne dabei je in gängige musikalische Muster zu verfallen.
Jonas Kocher, accordion / CH
Eiko Yamada, recorder / Japan-D
Zwei Dinge machen dieses Duo aus: ein hohes musikalisches Engagement und eine große musikalische Neugier, changierend zwischen subtilen Klängen und kräftigen Ausbrüchen.
Jonas Kocher und Eiko Yamada sind permanent auf der Suche nach einer Balance zwischen fein gesteuerter Präzision und spontanen Ereignissen in der freigesetzten Bewegungsform – stets wachsam im Austauschen der Energieflüsse im Klang und Raum. Eines steht dabei aber immer im Vordergrund: intensives Zuhören, das jede Entscheidung in ihrem Spiel prägt.
Phil Wachsmann, violin / GB
Teppo Hauta-Aho, bass / Finnland
Harri Sjöström, saxophone / Finnland
Sebi Tramontana, trombone / D
Paul Lovens, percussion / D
A legend among improv groups, boasting a well-nigh constant lineup, Quintet Moderne is also something of a mystery.
In the 80's five musicians, driven by a common search for new sounds, came together to form this Finnish-German-English collaboration: violinist Phil Wachsmann, bassist Teppo-Hauto-Aho, soprano saxophonist Harri Sjöström, percussionst Paul Lovens as well as trombonist Jari Hongisto, later replaced by Paul Rutherford.
Thirty years after their first lp, later to be followed by only two additional releases, including a single consisting of a mere three and a half minutes of music, it was thought high time to bring this quintet back to the stage, with Sebi Tramontana succeeding the late Paul Rutherford on trombone.
With a stellar lineup like this, we can look forward to a perfomance that will be timeless, surprising, intense, full of humor and gripping from the first to the last tone!
John Butcher, saxophone / GB
Daniel Studer, bass / CH
Harald Kimmig, violin / D
Alfred Zimmerlin, violoncello / CH
Since the recording of their first concert in January 2015, this quartet has come together frequently and evolved a strong unity. At many renowned Festivals and international venues throughout Europe and beyond, they were able to prove that improvisation, in the hands of masters of this genre, is a continuous process of optimization.
The intuitive grasp of the flow and the concomitant curiosity about how to fashion it in an ongoing process, give rise to musical dialogs endowed with a special magic that, from the very beginning, is translated to the audience.
This concert highlight has been made possible by APPLAUS 2016 an award offered by the Federal Commissioner for Culture and Media.
APPLAUS – Auszeichnung der Programmplanung unabhängiger Spielstätten ist ein Projekt der Initiative Musik, das in Zusammenarbeit mit der Bundeskonferenz Jazz (BK Jazz) sowie der LiveMusikKommission, Verband der Musikspielstätten in Deutschland e.V. (LiveKomm), durchgeführt wird.
Für sein "herausragendes Liveprogramm" wurde unser Verein zum zweiten Mal nach 2014 mit einem Preis geehrt, was uns außerordentlich freut und uns anspornt, so weiterzumachen!
Bereits das 2015er Konzert des Quartetts wurde ermöglicht durch den Spielstättenprogrammpreis der deutschen Bundesregierung für Offene Ohren e.V.. In diesem Jahr wird nun auch das Folgekonzert möglich. Wir danken der Initiative Musik und der Staatsministerin für Kultur und Medien!
For this tour, the musicians are supported by:
Ernst Göhner Stiftung, Fondation Nicati - de Luze, Fondation SUISA, Pro Helvetia, C. + A. Kupper Stiftung, Schweizerische Interpretenstiftung SIS.
Mat Maneri, viola/ USA
Matt Moran, vibraphone / USA
Torbjörn Zetterberg, bass / Schweden
Daniel Levin, cello / USA
With its chamber music appearance this drummerless lineup consisting of US cellist Daniel Levin and his colleagues Mat Maneri on viola, Torbjörn Zetterberg on bass and Matt Moran on vibraphone, brings together elements from diverse styles without exclusively committing to any one of them.
With the duo of Daniel Levin and the internationally renowned viola player Mat Maneri building the group's core, they manage to create a unique blend of American jazz, European classical, microtonal, New Music as well as free improvised approaches.
The curious can find musical excerpts on http://daniel-levin.com/daniel-levin-quartet. The best option, though, as alway is to enjoy the concert live at the MUG!
Antonio Borghini, double bass / I
Louis Laurain, trumpet / F
Pierre Borel, saxophone / F
Hannes Lingens, drums / D
The work of the Italian-French-German quartet "Die Hochstapler" (The Impostors) is based on questions of language and communication. Refraining from any use of notation, rules and strategies developed out of poetry, card games, alphabets and other sources of inspiration form the grammar for the hochstaplerish discourse.
The main source for these concepts lies in the discovery of the writings of the exceptional musician and mathematician from Chicago, Alvin P. Buckley. A pioneering scientific resarcher (probability theory) and versatile musician back in Chicago, Buckley retired from active music making after an epiphanic encounter with Stockhausen, but kept writing down ideas for musical games, structures and strategies for collective composition, as well as melodic fragments and short philosophic aphorisms, in his journal.
The vast majority of entries in Buckleys journal (1959-1964) circles around how musical communication could potentially be organised. Natural laws, rules and strategies. Poetry, card games, alphabets. Four independent voices, free to suggest, pretend, agree, disagree or ignore at any time of the game, collectively build up a rhetoric, full of hints and references, playful and ever changing.
Philip Zoubek, piano / A
Elisabeth Coudoux, cello / D
Henning Sieverts, bass, cello/ D
Matthias Muche, trombone / D
Etienne Nillesen, prep. drums / D
Originally founded as a trio by cellist Elisabeth Coudoux, the Emissatett will visit Offene Ohren in a by now established quintet lineup, consisting of, alongside Coudoux, Matthias Muche (trombone), Henning Sieverts (double bass), Philip Zoubek (pepared piano) and Etienne Nillesen (pepared snare drum & cymbals).
Connected by fine threads, compositions and free improvisations weave a well-balanced fabric. Each musician contributes his/her own ideas in an open concept of notes and sounds, melodies and situations that are by turns closely and loosely structured.
Frequently, the structure of musical ideas functions as a guideline that will challenge players to integrate their own sonic language into the whole and to find their own interpretation of it. Free improvisation always is the common basis, from which all members of the quintet draw their ability
Steve Noble, drums / GB
Dominic Lash, bass / GB
Stefan Keune, reeds / D
Ever since he played in a Duo with Paul Lytton in 1990, Stefan Keune has been a fan of the British improv scene. Even before its official establishment, Offene Ohren got to know his duo with guitarist John Russell at the Freedom of the City Festival in London and invited them for the club's sixth concert.
A 150 Offene Ohren concerts later, Keune again brings two colleagues from the UK. Steve Noble is a rather rhythmically oriented free drummer, notable for playing in groups with Peter Brötzmann and Sophie Agnel. Young bass player Dominic Lash performed only a few months ago as part of Lisa
Ullén's A/L/U trio on the MUG stage.
And Stefan Keune has promised to bring his newest CD along. The pieces with duo partner Paul Lovens were recorded during a tour in 2013 – and mainly during there visit at Offene Ohren!
Axel Dörner, trumpet / D
John Butcher, tenor and soprano sax / GB
Xavier Charles, clarinet / F
The trio formed, at the suggestion of Xavier Charles, to play at the 1999 Musique Action in Vandoeuvre, and has since played in France, Austria, Sweden and Switzerland - including at the Victoriaville (Canada), LMC (UK), GMEA (France) and Huddersfield Contemporary (UK) festivals.
"The grain of acoustic sound takes on the metallic colour one associates with the electronic, in the process redefining the idea of sonic modernity, disproving the idea that it can only be provided by new technology." (Nick Cain / Opprobrium)
If you are willing to undergo a risk you will be richly rewarded. Beat patterns and difference tones from the high-pitched horns give rise to "invisible" bass parts. In the room, in the head? Ultimately, an irrelevant question for this journey through fascinating sonic territory.
Irene Kepl, violine
Bertrand Gauguet, alto saxophone
Irene Kepl - Violine solo
Improvisation – interpretation – composition. Magical moments springing from the formal openness of improvisation are put into contrast with planned processes. Both approaches benefit from the physical and mental internalization of musical mindscapes, past and present.
Irene Kepl's solo appearances are looking for adventure, challenging performer and audience alike and consciously exposing themselves to the conflict between technical versatility and intended risk.
- Altsaxofon solo
At every new location, solo playing is a continuous premiere. There is no other concert situation where architecture and the room's acoustic properties have such a decisive bearing on the structural evolution of the improvisations.
Influenced by flexible, transparent and potentially instable forms, the music advances into different dimensions of perception, giving rise to a parallel sonic reality.
SHIRO is a concept developed in Japan in 2011 and since continuosly extended to encourage a fruitful involvement with shakuhachi playing and Buddhism – "playing, breathing and meditation are activities of an equal standing" (Ichi Nyo Suizen).
Anthony Pateras, piano
Erkki Veltheim, violin
Scott Tinkler, trumpet
Formed across Berlin/Melbourne in 2015, this trio present real-time compositions with crystalline aural architectures, using the moment itself as their structural compass.
All virtuosos on their given instruments, all are renowned for their contributions all over the musical map, and all possess highly distinctive and individual performance languages. As a unit, the music snakes between joyous pointillism, intense rhythmic interplay and rich walls of sound.
Their debut album is entitled The Moment In And Of Itself on Immediata.
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Oli Steidle, drums / D
Peter Brötzmann, reeds / D
This exciting duo resulted from the encounter of the trio "Die dicken Finger" with Peter Brötzmann.
Calling Peter Brötzmann Germany's most eminent jazz export is absolutely justified considering the seminal importance of this musician. His enormous oeuvre is documented on more than 200 recordings. There is no mistaking his lasting influence on subsequent generations of players.
Oliver Steidle is the drummer of "Die dicken Finger" and has also been active for many years with "Der rote Bereich" alongside Rudi Mahall and Frank Möbus and with Finnish guitarist Kalle Kalima.
Our autumn highlight. Energetic music for open ears!
Jan-Filip Tupa, cello
Carl Ludwig Hübsch, tuba
Liz Allbee, trumpet
Uli Phillipp, bass
The instrumentation alone should draw attention: Featuring two low string instruments as well as one high and one low brass instrument, the Rheinstein quartet does indeed boast a fairly unconventional lineup.
Drawing on a wealth of experience ranging from New Music and jazz to experimental and sound art, the four musicans are always willing to subordinate their considerable instrumental skills to a common musical process.
Visitors are in for an outstanding listening experience.
Makato Sato, perkussion /J
Benjamin Duboc, bass / F
Paul Schwingenschlögl, trumpet / A
Founded in Paris in 2013, this international trio brings together Berlin-based Paul Schwingenschlögl from Austria, Benjamin Duboc from France and Makato Sato from Japan in a grouping of equal musical voices from different cultures.
The trumpet evokes Bill Dixon and at times the early Leo Smith, whereas Sato's approach speaks of his experiences in Paris of the 70's, when he frequently performed with Alan Silva, the Art Ensemble of Chicago or Marion Brown.
Benjamin Duboc, on the other hand, is equally at home in jazz, improvisation, composition and music for films.
Julien Pontvianne / clarinet
Antonin-Tri Hoang / clarinets
Jean-Brice Godet / clarinets
Enrico Sartori / clarinets
Der Name dieses französischen Klarinettenensembles bezieht sich auf Samuel Becketts zweites Werk. Er ist inspiriert von der abstrakten Konzeption und der linearen, puren Erzählweise dieses Schriftstellers.
WATT endeavours to use the clarinet as a true emitter of sound waves, ranging from almost pure sine tones to more complex periodic motions. Long and improvised forms are privileged, in which rhythms are beats, timbres merge in the extreme, and tuning is greatly distorted.
Ausgehend von wenigen, ja, einer einzigen Note, entwickeln sich mikrotonale Strukturen, Schwebungen, kaum merkbare Veränderungen, die die Musik von WATT auch mit der Musik Giacinto Scelsis assoziieren.
Abwesenheit von Rhythmus macht einen Teil des Zaubers dieser Musik aus. Aber es ist auch der Sog der Klangfarben, der reichen Interferenzen, des natürlichen Vibratos, das zwischen den Instrumenten entsteht, und der langsam die Ohren öffnet für ein „Theater der kleinen Dinge“, in das der Zuhörer unmerklich eintaucht und fasziniert wieder verlässt.
Herzlichen Dank an Enrico Sartori, der den kurzfristig verhinderten Jean Dousteyssier hervorragend vertreten hat.
Harald Kimmig, violine
Gerry Hemingway, drums
Gerry Hemingways Liste von Duopartnern liest sich wie ein Who´s´Who der ersten Garde zeitgenössischer Jazzmusiker und Improvisatoren. Anthony Braxton, Marilyn Crispell, John Butcher, Thomas Lehn, Earl Howard, Ivo Perelman, Jin Hi Kim, Ellery Eskelin sind nur einige Beispiele. Sie zeigen aber wie vielseitig und unbeschränkt kreativ dieser Meister der Drumsticks wie auch der Vibraphon-Mallets sein Fach beherrscht.
Nun also ein Duo mit Harald Kimmig. Offene Ohren erinnern sich begeistert an das letztjährige traumhafte Konzert mit Harald Kimmigs String-Trio-Partnern Alfred Zimmerlin und Daniel Studer, zusammen mit John Butcher.
Mit Harald Kimmig & Gerry Hemingway treffen zwei Freigeister aufeinander, denen neben ihrer meisterhaften handwerklichen Beherrschung ihrer Instrumente eine ungebremste Neugier auf ungehörte Klänge zu eigen ist sowie im Dialog sich eröffnende neue Soundwelten und Austarierung feinster Nuancen der Kommunikation.
Die Frage ob Komposition oder Improvisation, Planung oder Spontaneität rückt hier in den Hintergrund und wird ersetzt durch das pure Klangerlebnis, zu dem wir alle Offenen Ohren herzlich einladen!
Burkhard Beins, Perkussion
Mazen Kerbaj, Trompete
Michael Vorfeld, Perkussion
Sawtout is a new trio project for experimental improv music, consisting of Mazen Kerbaj, currently "Improvisor in Residence" of the Berliner Künstlerprogramm des DAAD, and the two Berlin-based percussionists Burkhard Beins and Michael Vorfeld.
All three already were guests of Offene Ohren e.V., Mazen Kerbaj only recently in a solo program for trumpet, objects and electronics in December 2014.
Michael Vorfeld may be called a musical chameleon and a genius of instrument-making, having introduced among other things the light bulb as a musical instrument to the general public.
Burkhard Beins, according to the All Music Guide, is a universal musician, who has shown the term "percussionist" to be hopelessly inadequate. The stage is set for a fascinating concert!
Jonas Kocher, accordion / CH
Jacques Demierre, piano / CH
Axel Dörner, trumpet/ D
The trio Demierre-Dörner-Kocher is much more than an unusual constellation of tonal colors and instruments: piano, trumpet, accordion.
Curiosity. Balance. Confidence. Listening. Construction. Form. These are key concepts and even essential attitudes, qualities, goals for the three improvisors, who came together for the first time at the Météo Festival in Mulhouse as Jacques Demierre's carte blanche lineup and have since established and continually reinvented themselves as a trio.
Clearly, the longstanding and extremely diverse experiences of the musicians involved are the basis for it all: from Cool Jazz to Monk to concept music with Axel Dörner; exploring the contrasts of static/dynamic or electronic/acoustic approaches with Jonas Kocher; and the know-how from seasoned improv groups like dlp, combined with theater music and studies in language, phonemics and phonetics with Jacques Demierre, the trio's initiator.
The musicians are supported by
Gerhard Gschlößl, Posaune, Sousaphon
Sunk Pöschl, Schlagzeug, Perkussion
Alberto Cavenati, GitarrenI
Unseres Wissens ist dies die erste Band mit eigenem Cocktail - der natürlich bei ihrem Konzert im MUG dank der wunderbaren Helga W.-Wollinger, die ihn eigens für dieses Trio entwickelt hat, auch serviert werden wird - nämlich besagten Gschlößl Pöschl, natürlich mit Cavenati!
Lassen Sie sich überraschen von der exquisiten Drink-Creation, die wie die Musik aus einer Kombination erdiger Urwüchsigkeit, lokalem Bezug und exotischen Zutaten besteht, mit handwerklicher Präzision und großstädtischem Laissez-faire gemixt und mit einem Augenzwinkern serviert wird.
Ein kleines weiteres Indiz, was stilistisch zu erwarten sein wird, ist der Name des CD-Labels, dessen Erstling wir hier feiern: "Trouble in the East" ist nicht nur bezogen auf den Berliner Wahl-Wohnsitz der drei Bandmitglieder, sondern auch ein Titel Ornette Colemans.
Und letztlich lässt die Kombination der beteiligten Instrumente ebenfalls einen ungewöhnlichen frischen Konzertabend erwarten: die Kombination von Gerhard Gschlößl´s Posaune bzw. Sousaphone, kombiniert mit Gitarre, gespielt von Alberto Cavenati, und unterlegt mit Schlagzeug und diverser Perkussion des hier bestens bekannten Sunk Pöschl hört man beileibe nicht jeden Tag.
Tobias Meier, saxophone / CH
Frantz Loriot, viola / F
Nicola Romanò, cello / CH
Raffaele Bosshard, bass / CH
Matthias Spillmann, trumpet / CH
Im Wald is a project of Zurich-based saxophonist and composer Tobias Meier and brings together some of the most active musicians from the Swiss and French improv, New Music and Jazz scene.
Though drawing from different sources of inspiration, the five musicians manage to create a unity that is larger than the sum of its parts. They seem to rotate in their respective orbits around an invisible center holding together everything.
Using a chamber music approach, Im Wald are working with transitions and intermediate spaces, with events that are clear and concealed at the same time. Their music is interested in multiple sonorities: noises stand on an equal footing with chord and interval structures. This process implies that the linear development of melodies is replaced by a multi-directional extension of ideas.
Thorstein Lavik Larsen, trumpet / N
Jan Martin Gismervik, percussion / N
Adrian Fiskum Myhr, bass / N
Frederik Rasten, guitar / N
Oker (Norwegian for ochre) is an acoustic improvising quartet, including trumpet, doublebass, acoustic guitar and percussion. Regular Offene Ohren concert visitors will remember Adrian Myhr from his concert with Facet Trio 3 years ago at MUG.
The pieces can be long in duration with rich textures in gradual change, but also spontaneous and open. The ensemble balances between airy gestures and dense collective blocks of sound.
OKER successfuly toured Eastern Europe (Czechia, Hungary, Romania, Russia) last fall, and is now coming to Germany for the first time.
Lisa Ullén, piano / S
Dominic Lash, bass / GB
Sam Andreae, saxophone / GB
On the occasion of the release of their debut CD the improv trio A/L/U has gone on a European tour that will also see them perform at the MUG.
In this trio, Sam Andreae, Lisa Ullén and Dominic Lash are creating playful soundscapes and exploring worlds on the thin line between form and chaos.
All of the players are internationally renowned improvisers, and the intimate knowledge of each other's musical language allows them to achieve perfect unison structures as well as extreme contrasts.
As with complex and fragile ecosystems – at the same time static and dynamic – the trio's music is at all times ready to erupt into volcanic outbursts. The seriousness of their approach is abundantly made clear, even though we also find an almost childlike curiosity and carefreeness.
Sophie Agnel, piano / F
David Chiesa, bass / F
Sophie Angel is one of those rare artists able to demolish the programmatic complacency of traditional Jazz or New Music festivals by drawing on a seemingly boundless wealth of creativity. Never resting on her laurels, she is continuously extending her esthetic investigations to unchartered territories.
At the MUG, she will appear with double bassist David Chiesa, also hailing from France.
Both show an immanent tendency for exploring the material of their instruments. Wood, strings and metal are rubbed, stroked, scraped, tapped, beaten. With a panoply of sounds ranging from subtle breaths to thunder rolls, they draw lines and planes of an abstract landscape, switching at lightning speed from intellect to emotion, from calculation to poetry.
Yorgos Dimitriadis, percussion / GR
Miles Perkin, bass / CDN
Tom Arthurs, trumpet / UK
GLUE is chamber music for the 21st Century. GLUE is a dynamic improvising trio from Berlin - an international cocktail of individual voices and experiences.
Influenced by Berlin reductionism, Pygmy singing, Morton Feldman, Steve Coleman, Bonanza Coffee Heroes and a whole lot more in between. Making you want to Dance. Shout. Cry. Meditate. Pedalo. Smile. Increasingly renowned for their extremely soft yet intense live performances full of micro-detail, lightning-fast interactions and timbral subtlety. Although the music of Glue is as unique and distinctive as its three members, it is also emblematic of a style of music emerging from Berlin today.
Glue's music springs directly from the multitudinous musical experiences of its three members; it is freely improvised without any predetermined thematic guidelines. For these musicians, it’s about a coherent group music.
Instead of solos with accompaniment, one finds a closely interwoven network of equal instruments. Each musician takes care of balancing action and reaction, playing and listening. It’s about a variety of changing, finely nuanced sound-colours and maintaining intensity at low volumes.
At all energy levels, the music exudes calmness, relaxation, serenity, and openness. There are no dogmas, no prohibitions, and no taboos. The pieces almost always start from a clean slate—a rest and silence from which acoustic structures are carved like sculptures. The musicians are simultaneously performers and listeners, giving the music space and finding surprises in whatever comes into being between them.
Experience the simultaneous idea and realisation.!
[Digital album Glue, booklet text by Klaus Kürvers 2011]
Urs Leimgruber, tenor, soprano saxophone / CH
Barre Phillips, bass / USA
Jacques Demierre, piano / CH
Photo: H. Schneider
For fifteen years dlp - Demierre, Leimgruber und Phillips - have successfully avoided being pigeonholed into closed musical categories. Free jazz and Cage, post-Webern extended intervals, aleatorics and decades of blues are only some of the elements vibrantly condensed and distilled here.
For the second time - after more than nine years - this three-star trio will give a concert for Offene Ohren. And they will bring us all kinds of news: The sound structures developed by dlp lie in the mercurial borderland between imagination and logic, experience and surprise, concentration and detail.
Dispensing with a stereotypically melodic-rhythmic vocabulary, the three musicians are probing the components of sounds; instead of piling up more and more, they manage to reduce, focus and compress.
The musical materials used are not new, but they are scrutinized, dissected and reorganized in unexpected ways, yielding surprisingly intense and compelling results.
Bruce Ackley, saxophone / USA
Jon Raskin, saxophone / USA
Steve Adams, saxophone / USA
Larry Ochs, saxophone / USA
Rova Saxophone Quartet performs Sound in Space. The four musicians will bring their sonic project to the Munich Underground with its special vaulted architecture and acoustics, a unique experience not to be missed.
For over a quarter of a century, the Rova Saxophone Quartet has been acclaimed and widely recognized for its vital role in extending the horizons of today’s genre-bending music. Rova has become an important leader in the music movement that has its roots in post-?bop, free jazz, avant-?rock, and 20th century new music as well as drawing inspiration from traditional and popular styles of Africa, Asia, Europe and the United States.
The musicians have composed and arranged 6 pieces which resonate beautifully in any older hall, church, or special theater that has both special acoustics (or echo), and also gives the musicians the option to surround or orbit the audience as well as perform from the front.
Sound in Space refers not only to the relationship of the music to the physical structure of the hall, but also to the silences within the music itself; active silences that shape the music as much as the sound created by the musicians.
Harri Sjöström, soprano sax / SF
Veli Kujala, accordion / SF
Gianni Mimmo, soprano sax / I
Trio Internazionale is an ensemble consisting of three internationally renowned musicians: soprano saxophonists Harri Sjöström and Gianni Mimmo, as well as accordionist Veli Kujala.
The virtuoso instrumentalists guide their audience through imaginary, constantly evolving soundscapes. Years of intense investigation into the possibilities of instant composing and an approach to New Music that overcomes technical boundaries, result in subtle or at times vigorous sonic constructs of charismatic appeal. Roaming through a kaleidoscope of musical moods, the listener experiences a perpetually changing, playful dance ranging from lyrical nuances to dramatical eruptions. The musicians create chamber musical improvisations, allowing everyone to breathe the common air.
What happens when music is emerging NOW? What is the difference between composing and improvising? This is how Steve Lacy put it in 1969: A composer producing 15 seconds of music has ample time for considering how these 15 seconds should sound. By contrast, an impovisor has only those 15 seconds to come up with the final result.
Improvisation can be seen as an immediate form of composition, as a composing in realtime. It requires the ability to understand the whole and its scructure and the sensibility to steer the musical expression in new, unexplored directions.
Eivind Lønning, trumpet
Espen Reinertsen, saxophone
Streifenjunko's first CD No Longer Burning has appeared on the Sofa label. Journalist Peter Margasak of the Chicago Reader wrote: "Trumpeter Eivind Lønning and saxophonist Espen Reinertsen, two young Norwegians operating under the name Streifenjunko, blew me away with their surprising debut album. Their work represents one of the most substantial and original approaches to improvised music that I have heard in the last years."
The group's second album, called Sval Torv, was released in August 2012 as a double LP, again on Sofa.
The duo Lønning and Reinertsen also perform in concert with other musicians - for instance only recently with the ECM project Christian Wallumrød Ensemble or alongside tubist Martin Taxt, guitarist Tetuzi Akiyama and no-input mixer player Toshimaru Nakamura in the improvising quintet Koboku Senju. They also collaborated with Sidsel Endresen and Keith Rowe/Kjell Bjørgeengen.
Georg Janker [bass, modulenz frequentator]
Sunk Pöschl [percussion]
Gunnar Geisse [laptop guitar]
Mo|du|la|ti|on, die; -, -en
A process during which a useful signal intended to be conveyed (i.e. this trio‘s opulent world of ideas) changes or modulates a so-called carrier signal (i.e. the jazz).
After all his trips to electronics, real time sampling and laptop sounds, Gunnar Geisse is once again discovering the charm of his original instrument, the guitar – the only difference being that his music is now spiced with his experiences in the digital world.
Sunk Pöschl’s curiosity about New Sounds - both improvised and composed ones – has always been based on the rhythm, drive and groove of jazz.
And Georg Janker’s vigorous approach to playing the bass, which fluctuates between shuhuru grooves and abstract sound experiments, arouses expectations of everything between straightforward jazz and thrilling and/or humorous excursions into the world of improvisation.
Luigi Marino, percussion, electronic
Sabine Vogel, flutes
The music proposed by the duo Marino-Vogel focuses on sound and all its shades. Each sound is a microcosmos and the basics of the extemporary dialogue between the two musicians are to be found in the subtlest elements inside this articulate acoustic world.
Metal resonances and air columns set in vibration inside a flute: sounds barely audible emerge from the background to take a predominant role, gradually showing all their potential and unexpected directions.
Sabine Vogel focuses on sound and improvisation, using extended techniques both acoustic as well as electronic, creating a very personal contemporary language for the flute. Discovering and producing the unheard, the intimate, in relation to sound production within the flute, is her main focus of exploration.
Luigi Marino is a musician native to Rome. He holds a BA in Arts and Philosophy from University of Rome Tor Vergata, and an MFA in Electronic Music from Mills College, where he studied under the guide of John Bischoff and Roscoe Mitchell. As percussionist, he is specialized in bowed metals and hand drums, with a predilection for the zarb. Improvisation has always an essential role in his performances.
Originally, he fascinated us with his duo project "Urban Flux". Working in a completely different way, the new duo Marino-Vogel will integrate the MUG space into the process intensely and take the audience on a magical sound voyage.
Tiziana Bertoncini, violin
Thomas Lehn, analogue synthesizer
Photo: Franz Reiterer
Tiziana Bertoncini and Thomas Lehn have been working together since 2002. They appear together as a duo but also in larger lineups like the ensemble]h[iatus. In collaboration with ZAM (Zentrum aktuelle Musik e.V.), they curated the Cologne two day festival comprovise in 2009 contrasting contemporary composed music with improvised music in order to investigate their points of contact, overlaps, proximities as well as distances.
In 2012 the Cologne cultural magazine Aufabwegen wrote about their first duo CD Horsky Park released the previous year on the British improv label Another Timbre:
"On two tracks, we hear the encounter of violin and analogue sythesizer in every conceivable nuance. Even if it might sound clichéd, it is true that Bertoncini's violin provides warm and organically rasping sounds, whereas the synth mimes the rabid machine, not without a certain deepness, but noticeably colder.
The music on Horsky Park depends on the tension between catchy, histrionically jubilant string work and bubbling, pulsating electronics. Sometimes it gets noisy, sometimes delicately planar and crackling; always we are excited to learn how many details will reveal themselves in the nooks and folds of the sounds."
Peter K Frey, double bass
Michel Seigner, electronic guitar
Alfred Zimmerlin, violoncello
KARL ein KARL command a diverse panoply of colors and timbres. Using new playing techniques, variably placed pick-up systems, preparations and scordaturas on their instruments, they manage to delve into uncharted territories far beyond any conventional sonic diction. In the last years, they have expanded their approach by drawing on electronic resources.
The music of KARL ein KARL is subject to continuous evolution, the three players being anxious to
smash through their own taboos time and again. As a case in point, they now succeed in interlacing
their performances with musical stereotypes, an approach they originally refrained from for the sake
of finding an autonomous language. This willingness to persistently question and go against the principles of what has been achieved has a direct reward for the three members of KARL ein KARL: sheer joy of playing. And it is this joy of playing that lends wit and vitality to their music.
Tanja Feichtmair, alto saxophone
Uli Winter, cello
Fredi Pröll, drums
A highlight of last year's Kaleidophon festival in Ulrichsberg, trio NOW! will visit Munich in June - Fredi Pröll on drums, Uli Winter on cello and Tanja Feichtmair on alto saxophone.
NOW! as in here and now, offering snapshots, instant fantasies, spontaneous reactions, impromptu
explorations, real-time dialogues. Blazing with passion through this coordinate system, these three
improvisors confidently pursue their distinctly selfwilled paths. At the same time though, they
candidly own up to influences and inspirations they absorbed in the course of their activities for Jazzatelier Ulrichsberg.
[Excerpt from Hannes Schweiger's review of the CD "Trio Now!" in the Austrian music magazine freiStil.]
Dieter Ulrich, drums
Christoph Winckel, bass
Joachim Zoepf, clarinets and saxophone
Claudia Ulla Binder, piano
Swiss pianist Claudia Ulla Binder will close the fifth year of this small series. The linup of piano, bass and drums might evoke a conventional jazz trio - but beware!
Even on its own, the trio BOX is treading unconventional paths, and it has strengthened its ranks with Joachim Zoepf who will lure the music even more firmly into unknown territories and always has a rhythmic, harmonic or melodious surprise card up his sleeve.
Albeit an improvisation trio, BOX is a well attuned team with years of common practice - but we will see the group in a modified version. Christian Weber had to call off on short notice and will be replaced by Berlin bassist Christoph Winckel. Christoph Winckel is the desired candidate of the remaining BOX duo. He was part of the acclaimed Alan Tomlinson trio at the MUG opening concert of Offene Ohren in 2011.
Accordingly, this encounter will be a premiere for all of us promising exciting musical dialogs, rapprochements, individual outbursts and spontaneous common creations eagerly awaited by players and audience alike.
Philip Zoubek, piano
Pierre-Yves Martel, viola da Gamba
Carl-Ludwig Hübsch, tuba
Philip Zoubek is the pianist at our second Spring Series concert. In 2008 he was our guest in a duo with trombonist Paul Hubweber.
This time around, he is accompanied by Pierre-Yves Martel on the viola da gamba. All those of you who think of pre-baroque music now should remember that in 2010 already Martel, with his Duo Sainct Laurens, opened our ears for New Music from Canada.
The trio is completed by the surprisingly agile tuba of Carl-Ludwig Hübsch, who is also not a stranger to Offene Ohren.
John Edwards, bass
Phil Wachsmann, violin
Charlotte Hug, viola
Marcio Mattos, cello
This is our second attempt to bring this exceptional quartet to Munich. Back in December 2010 Marcio Mattos and Phil Wachsmann were stuck at the airport in London due to the onset of winter, and the audience at Offene Ohren had to make do with the Stellari Snow Duo consisting of Charlotte Hug and John Edwards who compensated for their colleagues' absence with an inspired performance exploding with sheer joy of playing.
Now we will finally be able to hear the whole quartet. After such a long wait this is an experience not to be missed!
The string quartet - the epitome of classical music identity? This concert will be proof that this lineup is also ideally suited for a panoply of experimental forms covering microtonality, dissonance, filigree lightness, harmonic interference, noise and silence.
All four members of the quartet have already performed at Offene Ohren concerts with different fellow musicians. Hence, their phenomenal individual brilliance is already well-known. The outstanding thing about the quartet is its unerring instinct for communication and the weightless facility of its sonic creations. The music might seem like it was composed, but it still is irrecoverable and unique.
Joachim Badenhorst, clarinet, saxophone
Frantz Loriot, viola
Pascal Niggenkemper, bass
Belgian clarinet and tenor saxophone player Joachim Badenhorst, Japanese-French viola player Frantz Loriot and German-French bassist Pascal Niggenkemper met in Brooklyn in 2008. Together, they produce a "triple entente" giving all players a chance for continuous evolution of their musical language.
As for improvised music, this trio is a real fountain of youth. Relying on their own brand of sound exploration and romantic eruptions that seem to have escaped from classical chamber music, these guys achieve a mix that is both fresh and original.
The music played by these improvisers shatters the conventions from which it has arisen. It is a music refusing easy conformism, the music of a high-wire artist in dizzying heights, ready at any moment to jump into the unknown. A liberating music.
Dušica Cajlan-Wissel (piano)
Gunda Gottschalk (violin, viola)
The high art of im improvisation in the classic duo format of violin and piano affords us with a special listening journey: music without notes arising from the moment and played in the most literal meaning of the word.
Due to their similar musical backgrounds, Dušica and Gunda bring a strong feeling for small ensemble forms and structures to the table. The essence of their work is to articulate the musical now. Both are out to jointly explore a wealth of devious, circuitous and ramifying ways beyond their classical training and lineup, thereby creating a music full of imagination and a singular lyricism.
Dušica Cajlan-Wissel holds a university degree as a classical pianist. In the late 90's she participated in projects of improvised music in Cologne. After this she was looking for new forms and increasingly turned to contemporary composed music. Recently, her focus has been more on improvised music again, amply proved by her impressive concert at the 2012 Irtijal Festival in Beirut (curated by Mazen Kerbaj, who gave a trumpet solo concert for Offene Ohren last December).
Gunda Gottschalk, violin and viola, has performed throughout Europe at contemporary and improvised music festivals and appears regularly at the avantgarde festival Visions in New York. After her introduction to these circles by way of Peter Kowald's Global Village, she is now a staple of the international improv scene. However, she is equally versed in other forms of contemporary music associated with dance, theater, film, composition, fine arts and literature. In the past, Gunda was a guest of Offene Ohren in a duo with Xu Fengxia and and a trio with Xu Fengxia and Günter "Baby" Sommer.
Due to being awarded the Spielstättenprogrammpreis 2014 by the Iniative Musik GmbH, we are able to present an additional series at the MUG: Winter Surprise 2015. The surprises in question range from string trio plus saxophone to New Jazz and to experimental performance. A feast for open ears!
Olaf Rupp (electric guitar, acoustic guitar/D)
Oli Steidle (percussion/D)
Tristan Honsinger (cello/USA)
Axel Dörner (trumpet/D)
Tristan Honsinger lived in Montreal, Amsterdam, Paris, Florence and Berlin. Beyond his abilities as a classically trained cellist, he is a master of surreal word perfomance. His current CD "Baboon" presents a trio concert with Enrico Sartori and Tobias Delius recorded in 2012 at the MUG. In 2014 he was back in Munich with Japanese piano sensation Shuichi Chino. With HDRS, we can expect him to act out with relish his anarchic-histrionic side.
Axel Dörner Born in Cologne, 1964. Studied piano and trumpet (with Malte Burba) at the Musikhochschule, Cologne. Moved to Berlin in 1994. He has worked together with numerous internationally respected figures in the fields of Improvised Music, Composed Contemporary Music, Jazz and Electronic Music. He has developed a unique style of trumpet playing based in part on unusual, often self-invented techniques. He has toured in Europe, North and South America, Australia, Japan and Asia (Hongkong) and appeared on numerous CD and record releases.
Olaf Rupp started at the age of twelve as an autodidact to play what might be called today Improvised Music. His way of holding the guitar in an upright position is inspired by chinese Pipa players. He developed some playing techniques like for instance rasgueados, arpeggios, picados and tremolos in such a way that they can be used for overtone and cluster effects to create new, "virtual" sounds. Lacking the "ecstatic" part of Free Jazz as well as the pure mechanical emphasis of Nancarrow, he sometimes describes his sounds as "analog granular synthesis". He played among others with Lol Coxhill, Michael Wertmüller, John Zorn, Joe Williamson, Paul Lovens, Thomas Lehn, Butch Morris und Tony Buck. He has four solo albums on FMP and GROB.
Oliver Steidle is a drummer who has evolved from rhythmic servitude into a totally emancipated and unique musician. German music critics as well as the international press agree that Oliver Steidle is “one of the most innovative young jazz musicians”, “a like-minded collaborator for many renowned musicians, [he] has developed an admirably distinctive style; he beats, whispers, and controls his instrument so fabulously as if it were the easiest thing in the world”.
Mark Sanders (drums/UK)
Adam Pultz Melbye (bass/D)
Lotte Anker (sax/DK)
Lotte Anker (saxophones – DK) has been at the center of the international community of improvisers since the mid 90’s, working with Marilyn Crispell, Ikue Mori, Fred Frith, Craig Taborn, Gerald Cleaver and many others, besides composing for Copenhagen Art Ensemble and her What River Ensemble, the latter commissioned by Huddersfield Contemporary Music Festival. Lotte is a member of the groundbreaking collective and record label ILK.
Adam Pultz Melbye (double bass – DK). Currently residing in Berlin, Adam is a significant renewer of the Danish bass tradition, touring Europe with a number of his own groups, performing solo concerts and working with Peter Brötzmann, Tobias Delius, Fred Lonberg-Holm and Johannes Bauer. Adam is a key member of the label and collective Barefoot Records, on which he has numerous releases.
Mark Sanders (drums – UK) is one of the most in-demand drummers on the European scene for improvisation. His many collaborators include Derek Bailey, Evan Parker, Barry Guy and Paul Dunmall, or the Foils Quartet with whom he performed for Offene Ohren in late 2013. His long-standing duo with bassist John Edwards is one of the tightest units of improvised music. He also works in composed situations with The ICE Ensemble, for Christian Marclay playing for his film "Everyday" and John Butcher for his piece "Tarab Cuts".
John Butcher (tenorsax, sopransax/UK)
Alfred Zimmerlin (cello/CH)
Harald Kimmig (violin/D)
Daniel Studer (bass/CH)
In classical music, string trios are among the most common chamber music ensembles. But in jazz they are very rare.
Although different from a classical string trio by its lineup of violin, cello and double bass, a string trio is fairly unusual in free improvisation. Add to this that violinist Harald Kimmig, cellist Alfred Zimmerlin and double bassist Daniel Studer extend the traditional sound of th the string trio by uncommon playing techniques, and it is clear that this Swiss-German formation does not conform to stereotypes.
Based on their longstanding collaboration and familiarity, the three musicians are able to shape multi-faceted soundscapes, structures and forms. (Reinhard Kager, SWR, 2011)
Swiss Daniel Studer already performed for Offene Ohren with his colleague on the bass Peter K. Frey - their dialog was captured on a CD released by Creative Sources.
The Winter Surprise concerts are supported by the Initiative Musik Non-profit Project Company Ltd. with project funds from the Federal Government Commissioner for Culture and Media on the basis of a resolution passed by the German Bundestag.
The friends of improvised music of the Offene Ohren e.V. would like to thank the Kulturreferat München for its continuous help allowing to present improvised music in Munich.
Mazen Kerbaj, Trumpet olo
Lebanese trumpet player Mazen Kerbaj will bring his highly focused solo playing to the MUG. For the first time in seven years, the trumpet experimentalist, improvisor, organizer, graphic artist, author and politically engaged blogger will be our guest. In 2007, the Black Box witnessed the premiere of his trumpet trio with Franz Hautzinger and Axel Dörner.
BRT VRT ZRT KRT is the telling title of his trumpet suite, that presents the instrument as the source of countless unexpected sounds, ranging from a starting helicopter to softly rustling paper. No tricks, no electronics, no multi-tracking involved! Occasionally assisted by simple mechanical aids, everything comes about with an astoundingly precise technique.
Alongside his activity as improvising musician, Mazen is known both as a graphic artist and comic book author and as an organizer of concerts for jazz and experimental music in his home country, including the Irtal Festival in Beirut hosted since 2001.
Come and see Mazen Kerbaj in one of his rare visits to Europe!
Frédéric Blondy, prepared piano
Guylaine Cosseron, voice
Xavier Charles, clarinet
For more than a decade now, Guylaine Cosseron has been carving out a distinct and very personal profile for her voice. In this, she has neither opted for the Jazz of the Great American Songbook nor for the distant floating world of Nordic ambient singing. But she did not turn into a female incarnation of Phil Minton either, even though she admires his work.
Unerringly, she has followed her own vision, supported by well-established musical partners like Joëlle Léandre, Michel Doneda, Sophie Agnel, John Russell and Jean-Luc Guionnet.
Frédéric Blondy, a master of the prepared piano, having at his command a seemingly inexhaustible array of sounds, and Xavier Charles, whose clarinet has acted in a wide range of improvisational contexts, are her partners here. Both have appeared in Offene Ohren concerts before. The three players have completed a successful tour of Japan this summer.
The trio's music is mysterious, restrained and very intimate, but at times also exalted and outgoing. Tightly knit lines by voice, piano and clarinet are interrupted by harsh, percussive staccatos and raw soundscapes, only to return at a moment's notice to their gentle interplay with silence.
Joker Nies, custom-made electronics
Georg Wissel, prepared saxophones
Paul Lytton, custom-made percussion
2+2=3 combines Georg Wissel's longstanding duos with percussionist Paul Lytton and 'electrosapiens' Joker Nies in a new trio, which makes for a highly unorthodox mix not only as far as algebra is concerned but also in view of Lytton's well-assorted percussives, Nies' custom-made electronic sound devices and Wissel's (prepared) saxophones.
Based on their search for a new and personal sonic language, Georg Wissel and Paul Lytton have for many years examined possibilites to modify and adapt their instruments to changing artistic needs. Their acoustic workshop duo was founded in 2006.
A self-declared sculptor of compressed air, Georg Wissel uses extended saxophone techiques as well a broad array of utensils for preparing his instruments. Paul Lytton, on the other hand, plays his 'table', arranging and bringing to life a vast number of meticulously picked household and percussion items.
The trio is rounded out bei 'electrosapiens' Joker Nies who has been experimenting with all kinds of electronic and analogous devices for live improvisation and sound design since the early 80s. Aiming for unpredictable connections, Nies frequently interferes as a resistor and waveguide with the wiring of his open circuits, omnichords and mysterious sythesizers.
There are no hidden agreements or concepts, all cards are played openly. The listeners become equal witnesses in an associative artistic process resulting in a sophisticated blend marked by sheer delight in and a strong sensibility for all kinds of sound and noise.
Geoff Goodman, electric guitar, banjo, loop
Bill Elgart, drums
Sebi Tramontana, trombone
Ardhi Engl, self-built instruments, loop
For their appearance within the scope of the subsonicspace series organized by Offene Ohren, they are joined by Sebi Tramontana (Italy) and Bill Elgart (USA), two internationally renowned improvisers, who are just as much at home with experimental music as they are with composed music.
Broad as it is, the musical range of Metal, Wood and Wire gets an additional grounding in the Jazz tradition through Bill's creative and elegant percussion work, while Sebi will open the doors for unfettered flights of improvisational imagination.
The story of Metal, Wood and Wire Extended has yet to be told. On this Sunday night, we will be privileged and thrilled to experience its unfolding.
Katsura Yamauchi, saxophones
This evening will present the audience with a double event: Salmosax is the solo project of Japanese alto and soprano sax player Katsura Yamauchi, and Ho Fu Ne M is his experimental film work that evolved over a period of two years.
On both occasions, the audience will be taken on a virtual expedition combining past, present and future by physical memories, locations, sounds and elements - is it Zen?
In 2010 the t-u-b-e, now called the MUG, witnessed a truly extraordinary concert by this Japanese saxophonist who was then virtually unknown. Due to a musical approach that is both simple and singular, he occupies a special position even in his home country. Without being part of any movement or trend, he follows his own improvisational vision with remarkable rigor and consistency.
His project is called Salmosax and water is one of its key elements. Now he is back with new solo concepts and an experimental film that has been shown successfully at international festivals.
An exciting performance not to be missed!
-> live in concert: Butcher – de Joode – Blume (see below)
-> our anniversary 10 years Offene Ohren e.V.
-> being awarded with the prize Spielstättenprogrammpreis 2014
Für seine "kulturell herausragende Livemusik-Reihe 2013" wurde der Offene Ohren e.V. Mitte September von der Beauftragten der Bundesregierung für Kultur und Medien, Frau Prof. Monika Grütters, in Hamburg ausgezeichnet.
Wir sehen die Auszeichnung nicht nur als ein wichtiges Zeichen der Honorierung unserer ehrenamtlichen Arbeit für den Verein selbst, sondern auch als ein Signal für alle Künstler, die abseits des gängigen Mainstreams neue, frische und spannende Improvisationsmusik-Erlebnisse zusammen mit einem offenen und neugierigen Publikum entdecken und entwickeln wollen. Ein positives Argument zur Fortführung unserer Arbeit, das uns Rückenwind für zukünftige Aktivitäten gibt!
Ohne die Förderung und Unterstützung vor allem durch das Kulturreferat der LH München, aber auch die Unterstützung durch unsere Partner, Freunde und Vereinsmitglieder, wäre es all die Jahre nicht möglich gewesen unser ambitioniertes Programm so umzusetzen. Ein herzliches Dankeschön!
Einem unserer Partner, dem Jazzclub Unterfahrt möchten wir an dieser Stelle nochmal gratulieren, er ist Preisträger in der Kategorie I. So sind im EinsteinKultur gleich zwei prämierte Veranstalter aktiv :-)
There´s really a lot to celebrate ...
Enjoy - Open Ears!
Martin Blume, drums
Wilbert de Joode, bass
John Butcher, saxophones
Prologue, summer of 2004: Guitarist John Russell and saxophonist Tanja Feichtmayr are on tour and are spontaneously invited to do a private concert in Munich. The feedback is phantastic. Old discussions flare up: why do we have so little improvised music here? Why are there generally so few opportunities to perform for improvising musicians?
Following the success of this duo concert, some friends of improvised music sit together discussing the seemingly utopian idea to bring to Munich the music for which they often travelled hundreds of kilometers through Europe.
On the same evening, they decide on founding an association - true to the motto "you don't stand a chance, so take it."
Soon after, the first concert took place at the Phoenix Lounge near Harras in the south of Munich. Offene Ohren, All Ears - the association's fitting name - was also the watchword for the perfomance of British saxophone player John Butcher, Dutch bassist Wilbert de Joode and German percussionist Martin Blume.
Who'd have thought back then that Offene Ohren e.V. would still be going strong today and celebrate its anniversary ten years to the day after its first concert featuring exactly the same trio?
In the intervening years, these musicians have appeared in various groups at our concerts, and all three are thrilled by the prospect of congregating again for our tenth anniversary in Munich.
We invite you to celebrate with us, the Offene Ohren team, the reappearance of the group that marked the beginning of our concert series!
Here is what one listener had to say about the trio in 2004:
Between caress and cheek - fascinating Free Jazz with the trio of John Butcher, Wilbert de Joode and Martin Blume
What is the essence of a musical instrument? Has it got a soul? Its own life? What are the limits of tackling it without breaking it? How far, for instance, can the language of a saxophone be extended without dissolving its character? Is an ordinary drum set really to be treated like this, and where in the handling of the beautifully shaped double bass does the caress stop and the cheekiness begin?
All three musicians are active in diverse groups of the improv scene and are
much- in-demand representatives of this genre. At the beginning of their first joint gig they seemed like solitary planets, self-absorbed musicians focusing on their vision with closed eyes.
But before long, a forceful dialog evolved, giving rise to loudly voiced questions and answers. Soon, in their spontaneously emerging performance, they were approaching ecstasy, expressing a highly concentrated power, at once destructive and beautiful. At times, the musicians seemed to interact with their shadows cast by the stagelight to invest their playing with an even greater sense of urgency. It was, as if Blume, de Joode and Butcher had known each other for ages.
- Ulrich Rüdenauer
Pat Thomas (piano and electronics)
Alexander Frangenheim (bass)
Roger Turner (percussion)
Phillipp Wachsmann (violin and electronics)
WTTF - no, not "welcome to the future." Nor is this short for "want to trade for." No - this acronym built of the initial letters of surnames simply announces four first-rate improvisors.
Phil Wachsmann (violin and electronics), Pat Thomas (piano and electronics), Roger Turner (percussion) and Alexander Frangenheim (bass) have recorded together once in 1997 for a session at London's Gateway Studios.
Power, concentration, mutual respect as well as humor are the hallmarks of the resulting sound document, released only fifteen years later and the reason for a reunion of this by now historical quartet for an Offene Ohren concert at MUG.
Three of these four protagonists played at some of our earlier concerts, then still hosted at different venues: Roger Turner together with Konk Pack at the Phoenix Lounge, Alexander Frangenheim as part of Chris Burn's trio together with Axel Dörner at the Black Box, and Phillipp Wachsmann as part of the Lines Quartet at Seidlvilla.
These legendary performances evoke a kaleidoscope of remembrances which really make us curious about the musical event to be expected with the added presence of MUG novice Pat Thomas.
Kim Myhr - guitar
Ingar Zach - percussion
Kim Myhr ist in der kreativen Musikszene Norwegens gleichermaßen als Komponist wie Gitarrist präsent und hat einen prall gefüllten Tourkalender, der ihn bereits durch ganz Europa, Australien, Asien und auch Nord- und Südamerika geführt hat. Anfang Februar 2014 erschien seine erste Solo-CD All your limbs singing. Anlass genug ihn ins MUG einzuladen.
Solistisch erforscht er hier das Klangpotential seiner 12-saitigen Gitarre und ruft dem Zuhörer die frühe Musik Ligetis und Morton Feldmans in Erinnerung, macht aber auch Ausflüge in die amerikanische Folk Musik.
Kim Myhr ist ein Drittel des experimentellen Trios MURAL, zusammen mit dem australischen Flötisten und Saxofonisten Jim Denley und dem Perkussionisten Ingar Zach. Brachte er 2009 Jim Denley als Duopartner zum Offene Ohren Konzert (siehe Offene Ohren Konzerte auf CD) nach München mit, ist also jetzt sein Landsmann Ingar Zach an der Reihe.
Auch Ingar Zach hat 2013 intensiv an einem neuen Soloprogramm gefeilt, und so haben unsere Konzertbesucher die Chance, schon vor der für den Herbst geplanten CD Veröffentlichung die Ergebnisse anzuhören. Auf seiner Internetsite können sie einen Radiobeitrag bei l’improviste vom November 2013 nachhören und einen Eindruck seines mal filigranen mal kraftvollen Perkussionspiels auf seinem reichhaltigen Arsenal von Klangerzeugern bekommen.
Shuichi Chino - piano
Tristan Honsinger - cello, performance
Die Freunde der improvisierten Musik präsentieren ein rares Duo zwischen dem irrlichternden Cello-Performer Tristan Honsinger und dem scheinbar schwerelos auf den Tasten tanzenden Pianisten Shuichi Chino.
Die beiden waren die begeistert gefeierte Entdeckung des letztjährigen Festivals Konfrontationen im österreichischen Nickelsdorf, seit Jahrzehnten ein Mekka der Improvisationsmusik. „Selten klang Improvisation so melodisch“ schwärmte Peter Bruyn im britischen Musikmagazin The wire über diesen Auftritt.
Geboren in Tokio ist Chino seit den 70er Jahren als Produzent, Komponist und Musiker genauso im Jazz und Rock wie in Theater, Tanz und Film aktiv und organisiert Improvisationsfestivals in Japan und weltweit. Im Grenzbereich zur bildenden Kunst hat er auch Sound-Installationen geschaffen.
Der Amerikaner Tristan Honsinger lebte in Montreal, Amsterdam, Paris, Florenz und Berlin und ist jenseits seiner klassischen Cello-Ausbildung auch ein Meister der surrealen Wortperformance. Seine letzte CD-Veröffentlichung "Baboon" entstand Anfang 2012 bei seinem Triokonzert mit Enrico Sartori und Tobias Delius im Münchner MUG - organisiert vom Offene Ohren e.V., der sich freut, ihn dieses Jahr wieder als Gast begrüßen zu dürfen.
Rodrigo Pinheiro - piano
Hernani Faustino - bass
Gabriel Ferrandini - drums
The RED Trio ist eine Ausnahmeerscheinung der portugiesischen Jazz- und Impro-Szene.
Seine Musik hat keine direkte Verbindung zu allem was ansonsten in diesem kleinen Land am Rand Europas musikalisch geschieht – obwohl es bekannt ist für seine außergewöhnlich lebhafte Szene zwischen Jazz und experimenteller Musik.
Ja, sogar weltweit gibt es kaum ein Piano Trio mit vergleichbaren Ansätzen. Vor allem deswegen, weil es nicht wirklich ein Piano Trio im herkömmlichen Sinn ist. Das Klavier ist nicht im Zentrum, obwohl Pinheiros Virtuosität und Ideenreichtum außer Frage steht. Genauso wenig bilden Bass und Schlagzeug die althergebrachte Rhythmusgruppe. Vielmehr agieren alle gleichberechtigt.
Das Ergebnis ist eine kollektive, hierarchiefreie Musik. Konventionen wie Melodie und Rhythmus werden durch spontane texturelle Strukturen ersetzt.
Inmitten all der Abstraktionen geht indes der Jazz nicht verloren – immer mal wieder blitzen Reminiszenzen auf und lassen Anklänge etwa an Thelonious Monk oder Cecil Taylor erkennen. Aber auch zeitgenössische Klassik wie Messiaen oder Ligeti werden gestreift.
Insgesamt reichhaltige, manchmal fast brutale Musik, aber mit Raum für feine Details. Wirklich eine willkommene Überraschung!
Raymond Strid - drums
Henrik Nørstebø - trombone
Nina de Heney - bass
Raymond Strid (Gush, Fire! orchestra, The electrics, etc.), Nina de Heney (Solo, Ullén/de Heney, Acoustic electronics) und Henrik Munkeby Nørstebø (As deafness increases, Skadedyr, Lana trio) fanden im Jahr 2011 zusammen und haben seitdem Konzerte in den bekanntesten Szene-Clubs Skandinaviens, wie Avgarde oder Blow out, renommierten Festivals wie dem Kongsberg Jazzfestival oder dem Festival InToDownTo gespielt.
Das Trio begeistert mit Improvisationsmusik von extensiver Dynamik, wobei variable pulsierende Klangwolken sich ablösen mit laserscharf herausgefrästen Rhythmusstrukturen, und der Individualismus der Musikerpersönlichkeiten in keiner Weise einem organischen gemeinschaftlichen Erschaffen von Sounds im Wege steht.
„Die Musik verrennt sich nie in vorhersehbare Loops, Wiederholungen oder bequeme Sequenzen oder Muster. Daher bleibt alles in steter Balance und Spannung, die sich kontinuierlich wandelt. Abgesehen vom Terminus „Improvisation“ kann dieses Trio in keine stilistische Schublade gesteckt werden, sie spielen schlicht und ergreifend großartige Musik!“ [Luigi Bozzolan, About jazz, Italien]
Agustí Fernández - piano
Mats Gustafsson - saxophone
Agustí Fernández ist zurück in München!
Nur knapp 10 Monate nach seinem spektakulären Solokonzert anlässlich des Jubiläumskonzertes Nr. 100 des Offene Ohren e.V. kommt er wieder in den MUG. Mit im Gepäck: die offizielle Aufnahme dieses Konzertes: "A trace of light".
Diesmal bringt er einen langjährigen Duopartner mit, Mats Gustafsson. 2004 bereits entstand der gemeinsame Tonträger Critical Mass. Der Schwede Mats Gustafsson stand schon ebenso lange auf der Wunschliste des Vereins.
Raue, ungezügelte Expressivität an Tenor- und Baritonsaxophon trifft auf aristokratische Meisterschaft am, um und im Konzertflügel. Filigrane Lyrik und mikrotonale Sounds an der Hörschwelle sind genauso im Repertoire dieser Vollblutmusiker zu finden. Aber auch wer sich an den Trioauftritt (damals mit dem Trompeter Peter Evans) 2012 beim ad hoc music Konzert in der Unterfahrt erinnert, wird überrascht werden.
Nicht weniger als ein spanisch-schwedisches improvisatorisches Spitzentreffen erwartet Sie im Munich Underground at Einstein.
The friends of improvised music of the Offene Ohren e.V. would like to thank the Kulturreferat München for its continuous help allowing to present these fantastic concerts!