Achim Kaufmann, piano / D
Harri Sjöström, soprano saxophone / SF
Ignaz Schick, turntables, electronics / D
Alison Blunt, violin / GB
Veli Kujala / accordion / SF
Gianni Mimmo, soprano saxophone / I
Photo: Sibelius Museum AK2015
In an absolutely unusual lined up sextet, Sestetto Internazionale delivers intriguing inventive, fresher, refined instant compositions. It was the Finnish saxophonist Harri Sjöström who compiled this group in 2015 for a tour of Finland. His European fellow musicians are the Finnish accordionist Veli Kujala, the Italian soprano saxophonist Gianni Mimmo, the British violinist Alison Blunt and the Berlin-based Achim Kaufmann and Ignaz Schick on piano and turntables.
Brilliant interplay, intriguing inner voices and tone nuance declinations are the sincere output of Sestetto Internazionale featuring some of the most innovative voices in the contemporary improvised music scene.
Contemporary flavours, subtle narrations, detailed soundscapes and chamber music elegance in an engaging performance are to be expected.
The Bayerische Rundfunk recorded the concert live. Probably on 14.06. you can hear the recording on the radio: 23:05 Jazz time on BR-KLASSIK.
Nate Wooley, trumpet
Lotte Anker, alto saxophone
Felix Henkelhausen, bass/ D
Dré Hočevar, drums
After the critical success of knknighgh's first outing, Minimalist Poetry (for Aram Saroyan) Nate Wooley is back with a concept that expands not only the minimalist/maximalist compositional technique of the first recording, but does so with a new cast of characters.
The Brecht Series takes the previous concerns of group interplay and and the tension therein to a different place altogether; pushing a new set of musicians: Lotte Anker on saxophone, Felix Henkelhausen on bass, and Dré Hočevar returning on drums to throw themselves off of musical cliffs repeatedly to find the newness in risk.
The new music takes on the hierarchy of the free jazz quartet by gently directing the musicians away from the typical jazz soloing and toward a new collective sound! The result is a surprisingly raucous and wonderfully inventive new music.
As one station of the first tour of this new ensemble, we will - once again - be able to be there live and directly involved in the development of a new group sound!
By the way, knknighgh is pronounced knife.
Jan Klare, saxophone
Julius Gabriel, saxophone
The final concert of the year 2018 will be a combination, which we associate more with a large formation - Jan Klare as leader and Julius Gabriel as a member of the formation the Dorf, which already mixed up several European festivals.
In the intimate, yet expressively explosive saxophone duo they will tell us stories "about Angels and Animals" - we are curious!
Frank Gratkowski, saxophone
Sebi Tramontana, trombone
The last concert in November will also be a déjà vu: Frank Gratkowski and Sebi Tramontana presented their "Instant Songs", spontaneous lyrical-melodic to expressive "stories from the fairytale forest", already in 2005 in the Seidlvilla.
Both have been successful in numerous formations ever since. But this project is especially important to them, as it is completely different from all their other activities. After thirteen years we are looking forward to listening them again. Open Ears!
Erhard Hirt, guitar, electronics
Michael Vorfeld, percussion, stringed instruments
Florian Walter, alto saxophone, contrabass saxophone
The cryptic abbreviation "rts" stands for the guitarist and electronic engineer Erhard Hirt, the drummer, inventor of percussive string instruments and light bulb artist Michael Vorfeld and the saxophonist Florian Walter.
Erhard Hirt and Michael Vorfeld were already in different formations guests of Offene Ohren e.V.. In this new trio we will experience an amalgam of generation-spanning experimental sounds.
Ståle Liavik Solberg, drums / N
Barre Phillips, bass solo / USA
John Butcher, tenor and soprano saxophone / GB
3. Set: Barre Phillips + John Butcher & Ståle Liavik Solberg Duo
Dieser Konzerttermin ist eine einzigartige Möglichkeit, zwei Großmeister der Improvisation an einem Abend und in der Intimität des MUG auch hautnah zu erleben: Zum einen Barre Phillips mit einem exklusiven Bass Soloauftritt, sein einziges Konzert nach einem Festivalauftritt in Salzburg, zum anderen John Butcher, einer unserer Wegbegleiter der ersten Stunde, der diesmal Ståle Liavik Solberg, einen jungen, experimentierfreudigen Schlagzeuger aus Norwegen, mitbringt.
Konzertkooperation mit ECM Records
End to End heißt Barre Phillips‘ jüngstes Solowerk, entstanden in Südfrankreich und erschienen auf dem Münchner Plattenlabel ECM Records.
Barre Phillips beeindruckt hier, ob pizzicato oder arco spielend, mit seiner Entschiedenheit: Jede Note, jede Klangfarbe, jeder Sound und jede Form ist wohlüberlegt, sorgfältig strukturiert und gleichzeitig voller eruptiver Kraft und emotioneller Energie. Dies ist die derzeit letzte Station auf einer inneren musikalischen Reise, die vor 50 Jahren mit der Veröffentlichung der weltweit ersten Bass-Solo-LP (Journal Violon) begann.
Zum fünften Mal ist Barre Phillips schon zu Gast bei den Offenen Ohren – zweimal im Trio dlp mit Urs Leimgruber und Jacques Demierre, einmal im Duo mit dem Kanadischen Geiger Malcolm Goldstein, und einmal mit seinen Bassistenkollegen Tetsu Saitoh und Sebastian Gramss. Und dennoch ist dieses Konzert eine Premiere: erstmals kommt er als Solist in den MUG, „our old bunker friend of Munich“, wie Barre den Konzertort liebevoll beschreibt (Listening, Lenka Lente 2016).
John Butcher, Tenor-, Sopransaxophon / GB
Ståle Liavik Solberg, Schlagzeug / N
John Butchers Duo mit Ståle Liavik Solberg entstand im Jahr 2015 im renommierten Londoner Café OTO. Es folgten Tourneen in Skandinavien und England.
Unkonventionell ist sowohl Spielweise und musikalisches Material als auch die Instrumentierung – Solbergs Schlagzeug ist eine Ansammlung von Snaredrums verschiedenster Größen.
Die Duokonzerte oszillieren zwischen relaxtem Drive und musikalischen Konfrontationen und Herausforderungen. Haben die Beiden Neues zu erzählen? Ja sicher, immerzu und immer anders! Nicht in dem Sinne, dass der Ausdruck an sich neu wäre, die Feinheiten stecken vielmehr im Detail und in den vielen Mikrostrukturen und Dialogen; und sie machen wieder einmal die Vitalität und kontinuierliche Selbsterneuerung grenzenloser Improvisation deutlich.
Ab Baars, tenor saxophone, clarinet, shakuhachi
Joe Williamson, bass
Kaja Draksler, piano
Fish-Scale Sunrise - Ab Baars‘ neues Trio wurde nach einem Gedicht des amerikanischen Lyrikers und Essayisten Wallace Stevens (1879–1955) benannt.
Zum ersten Mal taucht in einem Ab Baars-Ensemble ein Klavier auf, wunderbar gespielt von der slowenischen Pianistin Kaja Draksler, die Ab Baars auch schon in ihre eigenen Projekte eingeladen hat. Das Klavier erweitert die Möglichkeit für seine Kompositionen und Improvisationen. Es ermöglicht ein neues Gewicht für Nuancen von Timbre und Dynamik sowie einen harmonischen Reichtum, der mit dem eines Orchesters konkurriert.
Die schlagzeuglose Besetzung zieht die Musik aus dem Jazz-Idiom heraus und gibt dem Bass einen einzigartigen Platz im Gesamtsound. Joe Williamsons enorme stilistische Bandbreite und profunde Technik tun dazu ihr Übriges.
Die Breite des Triospiels reicht von moderner Klassik bis hin zu kompletter Freiheit von Ausdruck, Stil und Expressivität. Ab Baars´einzigartiges Spiel wird hier in einem komplett neuen Kontext beleuchtet, und das Trio wirkt gleichermaßen selbstsicher und enthusiastisch wie suchend und erforschend – intellektuell, intim und emotionsgeladen! Ein Erlebnis, das durch den APPLAUS-Preis der Initiative Musik ermöglicht wird.
Mark Alban Lotz, flutes
Alan „Gunga“ Purves, drums, squeaks
Alan “Gunga” Purves und Mark Alban Lotz laden uns heute ein auf eine imaginäre Achterbahntour voller Emotionen, schrecklich lustig, spannend, unvorhersehbar, zwischen Sternenstaub und Hühnerfarm, zwischen Klassik und Slapstick, zwischen Traum und Albtraum.
Der Schlagzeuger und Squeekologist Alan ‘Gunga’ Purves und der Multi-Flötist Mark Alban Lotz sind beide dafür bekannt, ihre eigenen musikalischen Universen zu entwickeln und mit allerlei schrägen Gestalten und Stories zu bevölkern.
Zusammen sind sie Garanten für ein einmaliges musikalisch-visuelles Abenteuer: Zwei Modernisten, die sich zusammentun, um mit neuerfundenen Sounds eine Reise in verschüttete alte und verquere neue Welten zu unternehmen. Die beiden werden uns neue Sichtweisen auf Klänge, Melodien, Rhythmen geben, und, so ganz nebenbei, eine aberwitzige Story erzählen.
Magda Mayas, piano
Mazen Kerbaj, trumpet, objects
Mike Majkowski, bass
Tony Buck, drums
Mazen Kerbaj, improvisierender Trompeter und kritischer Zeichner und Karikaturist aus dem Libanon und Mitbegründer der dortigen Improvisationsszene, lebt heute in Berlin.
Analog zu seinem seit 13 Jahren existierenden Beiruter Improvisationsensemble „A“ Trio hat er 2015 in Berlin sein Quartet "Das B" zusammengestellt. Er kooperiert hier mit dem Duo Spill, bestehend aus Magda Mayas und Tony Buck, sowie dem Kontrabassisten Mike Majkowski, drei Musiker der international zusammengesetzten Berliner Improv-Szene.
Anfang 2015 waren ¾ dieses Projektes bereits einmal in München zu Gast. Offene Ohren e.V.–Mitglied Colin Gilder organisierte damals ein Triokonzert mit Mazen, Magda und Tony in der Villa Stuck.
Alle vier Musiker haben jeweils individuell sehr persönliche und raffinierte Ansätze für ihre Instrumente entwickelt. Als Quartett erschaffen sie einen Baldachin differenzierter Klangwelten, welche sich natürlich entfalten und organisch entwickeln.
Jan Roder, bass
Olaf Rupp, guitar
Olaf Rupp and Jan Roder have known each other for a long time. They play in
a duo setting as well as in a trio with Rudi Mahall, called JR3, having just
released a new CD on the New York label Relative-Pitch-Records.
Jan Roder has played with various well-known representatives of progressive
jazz in Germany, such as Alexander von Schlippenbach, Axel Dörner or Ulrich
Guitar player Olaf Rupp explores on his instrument in uncompromising radicallity the field of free improvisation. The extreme virtuosic playing techniques which he has developed by himself are the result of a unique artistic discipline far away from the usual standards and conventions. He is always expanding the sonic range of his instrument evermore. In his subtle, pointillistic soundworld every single note appears as a colour-dot inside of a larger matrix.
We are to experience a technically savvy, focused and playful duo of
acoustic guitar and double bass. Open ears!
John Tilbury, piano / GB
Ken Vandermark, saxophones / US
Eddie Prevost, drums / GB
It is an encounter of two musical worlds which despite their differences share a mindset of radical innovation.
Pianist John Tilbury and drummer Eddie Prevost, both from Britain, are the current nucleus of the epoch-making improv ensemble AMM.
AMM was founded as early as 1965 by saxophonist Lou Gare, guitarist Keith Rowe and Eddie Prevost. In 1980 John Tilbury joined the group. The musicians participating in AMM developed a language and and performance attitude, that went well beyond anything possible at that time in New Music and Free Jazz.
As a consequence, the group became a paragon for improvisors of diverse backgrounds, ranging from Rock to Classical, and for the emergence of a unique form of free improvisation, comparable maybe only with the improv ensemble Musica Elettronica Viva formed around the same time by Alvin Curran, Frederic Rzewski and Richard Teitelbaum.
AMM is always acting as a collective. Despite the importance of individual voices for the process of interactive music making, the result remains strictly focused on collective improvisation and not on a series of solo contributions.
US Jazz saxophonist und clarinetist Ken Vandermark manages to conform to this approach, while at the same time substantially adding to the proceedings due to his multi-stylistic interests, his openness for new sounds and his tendency for breaking down conventions.
There is a long list of musicians who have recorded albums with him, including Hal Russell, Paul Lytton, Joe Morris, Peter Brötzmann and Paul Lovens. Many ensembles came together under his leadership, for instance Free Fall, Free Music Ensemble, Territory Band (a large orchestra with chaning lineup), Rara Avis and – probably best known - the Vandermark 5.
Paal Nilssen-Love, drums / NO
Johan Berthling, bass / SE
Akira Sakata, saxophone / JP
Arashi means «storm» in Japanese, and this word is indeed apt to describe the ultra-powerful music of the trio put together by the legendary saxophonist and clarinettist Akira Sakata. Akira Sakata ist vielen noch als Teil des Yosuke Yamashita Trios aus den Siebziger Jahren in Erinnerung.
Accompanied here by a diabolical, Nordic rhythm, Akira Sakata is capable of unleashing free sparkling illuminations or more intimate, but always personal, atmospheres. Arashi alternates thunderstorms in the form of rapid and intense free assaults, with moments of pure contemplation (the calm after the storm ?) where Akira Sakata uses a warm and moving clarinet, or some powerful throat singing, by which we are instantly transported. An exceptional trio.
Johan Berthling ist Bassist im Spannungsfeld zwischen europäischem Free Jazz und experimentellem Rock unterwegs und hat mit so ziemlich allen nordeuropäischen Schwergewichten dieser Genres zusammengespielt, wie zum Beispiel Sten Sandell, Christer Bothén, David Stackenäs, Raymond Strid. Er ist Mitbegründer von so energielastigen Gruppen wie Fire!, Nacka Forum und Tape, und ist von daher eine logische Ergänzung zu Paal Nilsson-Love und Akira Sakata im Power-Trio Arashi.
Paal Nilssen-Love ist laut downbeat (Dan Quelette) "einer der innovativsten, dynamischsten und vielseitigen Schlagzeuger der aktuellen Szene". Zu einem guten Teil ist dies seiner Arbeitsweise geschuldet: Er ist gleichzeitig in einer Vielzahl von Bands und Projekten aktiv, die als gemeinsamen Nenner jedoch immer ein hohes Energie- und Dynamik-Niveau aufweisen. Genannt seien hier stellvertretend The Thing, Territory Band, Atomic, Sten Sandell Trio und vor allem das Brötzmann Chicago Tentet, aber auch Duos mit Ken Vandermark, Mats Gustafsson oder Lasse Marhaug. Die Basis wurde schon in seiner Jugendzeit gelegt. Er wuchs als Sohn eines Schlagzeugers und Jazzclub-Betreibers im norwegischen Stavanger auf und kam schon früh mit Saxofonist Frode Gjerstad in musikalischen Kontakt.
This concert, like the one by Free Jazz icon Peter Brötzmann eighteen months ago, promises to be an event full of energy and power. It is not by chance, that in 2011 Brötzmann insisted on inviting Akira Sakata for his anniversary festival in Wels as one of a number of prominent Japanese guests that he had encountered during his many tours through Japan.
Hildegard Kleeb, piano
Fine Grafenhorst, dance
Christian Wolfarth, percussion
Roland Dahinden, trombone
Three musicians and a dancer encountering an unknown room.
Who are they? What kind of room is it that encloses them? Does it provide shelter? Does it create space for other rooms?
Four different journeys and biographies, four performers meeting and opening for insights (Einblicke) into their individual perspectives and perceptions.
Specifically for this concert, Fine Grafenhorst (née Kwiatkowski) has developed this project in collaboration with her Swiss colleagues.
Fine Grafenhorst: "Frequently I get together with artists from the fields of contemporary dance, music, visual arts and acting. These encounters reflect a moment full of intensity and excitement, attraction and repulsion, entailing to a large extent the risk of failure but also the possibility of exhilarating ecstasy or silence. A kind of conversation able to grasp very directly and deeply the essence of what cannot be said in words."
Fine Grafenhorst was a guest of Offene Ohren in 2011 with her multimedia-project Cri du Coeur, and Christian Wolfarth visited us late last year with Der Verboten. It is the first time we can welcome pianist Hildegard Kleeb and trombonist Roland Dahinden.
Roland Dahinden studied trombone and composition at Musikhochschule Graz with Erich Kleinschuster and Georg Friedrich Haas and at Scuola di Musica di Fiesole in Florence with Vinko Globokar. From 1992-95 he was an assistant to Alvin Lucier and Anthony Braxton at the Wesleyan University, Connecticut. In 2002 he earned a PhD at Birmingham University, England, studying withVic Hoyland.
Posaune und Komposition, zunächst an der Musikhochschule in Graz bei Erich Kleinschuster und Georg Friedrich Hass und bei Vinko Globokar an der Scuola di Musica in Fiesole bei Florenz. Von 1992-95 war er Assistent von Alvin Lucier und Anthony Braxton an die Wesleyan University in Connecticut. 2002 schloss er ein PhD Program bei Vic Hoylund an der Birmingham University (GB) mit dem Doctor of Philosophy in Music ab.
As a trombonist he is at home in improvised music and Jazz as well as New Music. He has performed in a duo with his wife, the pianist Hildegard Kleeb, since 1987..
Hildegard Kleeb studied piano at the Zurich Music School and later with Eric Gaudibert in Geneva and Jürg Wyttenbach at the City of Basel Music Academy. She is an improvisor and performer of New Music. She stayed at Wesleyan University from 1992-1995 together with Roland Dahinden and worked with Anthony Braxton, Alvin Lucier and Christian Wolff.
Roland Dahinden and Hildegard Kleeb have been on concert tours throughout Europe as well as in America, Africa and Asia.
They share a fondness for visual arts. Among Roland Dahinden's compositions there are sound installations and sound sculptures.
In an article for Zentralschweiz am Sonntag, Hildegard Kleeb has described her approach: "I imagine the grand piano as standing and sounding in space. The piano as a kind of sonic mass on which I work like a sculptor."
We are looking forward to new insights!
Henrik Pultz Melbye, reeds
Adam Pultz Melbye, bass
This double feature is a kind of family enterprise by the Pultz Melbye brothers from Denmark. Adam the bassist has already impressed us back in 2015 as part of the Lotte Anker Trio with his intensity, accuracy and zest.
Adam Pultz Melbye, who has lived in Berlin since 2013, comes back as a soloist with his project Measures. His diligently built up musical structures are informed by an appreciation of precision and small details as well as a jaunty playfulness and an adventurous search for new sounds – whether bowed, plucked or percussive.
Eyal Hareuveni, on allaboutjazz.com, wrote about his second solo album Measures (Dez. 2017): „Melbye, gifted with masterful and highly creative command of the double bass, uncovers the insides of this massive instrument in a series of nine concise improvisations. […] “That” is a wise and playful improvisation that employs the resonating wooden characteristics of the bass and on “Zossener” it sounds as if the bow is the main instrument and the double bass is employing various extended techniques on the bow. “Knee Left” returns to the opening improvisation, applying similar methods and reaching a satisfying closure in this arresting journey. Highly impressive.”
His younger brother Henrik lives in Copenhagen and is also working in the experimental and improvised vein. His first activities included the direction of an avant-garde rock band.
In 2011 he graduated from The Academy of Music in Esbjerg with a Master in Music. In 2017 he continued studies at the Advanced Postgraduate Diploma programme at the Rythmic Music Conservatory in Copenhagen.
In his solo program Frogs/Toads he plays mainly acoustic tenor saxophone, focusing on spatial interactions and the acoustic conditions in spaces of the most diverse dimensions.
Short and precise improvisations are played in a highly intense and disciplined way. They document Henri Melbye's complex and rich vocabulary as well as his mastery of the instrument, at times even achieving multiharmonics by the use of breathing techniqe and feedback.
"He’s exploring the possibilities of the saxophone with minimalistic tonepaintings and sound-wrenching tensions. It’s challenging, varied and exciting." Niels Overgård, Jazznyt.com
Emil Gross, drums
Anupriya Deotale, violin
Paul Rogers, bass
The Mukt trio is, by their own account, a project dreamed up by the cosmopolitan Udo Preis from Southern Burgenland, who acts as an enterprising organiser for the improv/Jazz festival Limmitationes at Rudersdorf. The rhythm section, also known as Peal duo, has been a stable fixture there for years. At one of the workshops they met Anupriya Deotale and formed this trio that manages to merge in a perfect way elements of classical violin playing and traditional improvising methods from India with European free improvisation.
Anupriya Deotale has done her M.A.(Master of Arts) and M.Mus.(Master of Music) both in Violin with a gold medal from Khairagarh University and Vikram University Ujjain. She has founded Ameer Khusro Centre For Music to promote the awareness,the knowledge and the cultural value of Indian Classical Music among the youth of India.
She has a unique style of her own, on the lines of fusion in which she blends the elements of "Gayaki" i.e. vocal rendering and "Tantarakari" i.e. instrumental rhythmic patterns. Anupriya Deotales Violinimprovisationen lassen klar ihre Wurzeln in der reichen indischen Musiktradition erkennen.
At the same time, she is always looking for challenging musical experiments. In the trio with British bassist Paul Rogers and Viennese drummer Emil Gross, she succeeds in creating a unique amalgamation of experimental harshness and spiritual depth.
Paul Rogers has been on the wish list of Offene Ohren for a long time. He is mostly known for his long-standing tenure in the free improv quartet Mujician of Keith Tippett. A player of finesse and feeling, he has appeared on dozens of albums, performing also with Mike Westbrook, Elton Dean, Paul Dunmall, John Stevens, Michel Doneda, Tony Levin, Alan Skidmore, Gerry Hemingway, Don Byron, Tom Cora, Louis Sclavis, Evan Parker and Ivo Perelman, to name a few.
Emil Gross is an extraordinary drummer of the younger generation who has played in his own groups alongside Jazz luminaries like Oliver Lake and Joe Fonda and has also instigated multiple cross-over projects with promising young musicians and dancers.
Torstein Lavik Larsen, trumpet / NO
Fredrik Rasten, guitar / NO
Torstein Lavik Larsen, trumpet, and Fredrik Rasten, guitar, already visited Offene Ohren in 2016 as part of the Norwegian OKER quartet.
Pip is a Norwegian acoustic duo based in Oslo. They started playing togheter in 2006 and have since then explored a variety of different musical directions. The duo is currently working with free improvisation. They explore the possibilities of the acoustics of trumpet and guitar with a focused sense of intonation and timbre as a point of departure. They create gradually developing textures in an intermediate state between static and organic.
After the limited edition CD Pip on the record label ØS in 2015, they released their official debut album Pip on the portuguese label Creative Sources in 2016 (CS 348). Just listen in: Pip2 or Pip on soundcloud. This Is Jazz Today wrote: „[…] the simple quality of the compositions/improvisations and the control in the delivery are absolutely excellent. It’s amazing what you can do with two acoustic instruments.“
The duo has played a large number of concerts in Europe.
Torstein and Fredrik also play together in the band Oker, and in the quartet Volumes with Magda Mayas on prepared piano and Isak Hedtjärn playing clarinet and sax. They have both many other musical projects as well, bands such as Skadedyr, Gismervik/Rasten/Garner, Torstein Ekspress, View from Nowhere and Torg, to name a few and are involved in projects with non-music artists, currently for example a live visual project with the danish duo Manuals.
Achim Kaufmann, piano
Tobias Delius, reeds
Dieter Manderscheid, bass
Martin Blume, drums
After a concert of the quartet in 2016 at the Kunstmuseum Bochum, Nina Schröder wrote in the WAZ: "The musicians managed to craft transitions of the most diverse sonic qualities ranging from percussive noise or dashing powerplay to a subtle, minimalist pianissimo. The players' broad array of sounds is a testament to their astounding mastery!"
Well-traveled British/German saxophone and clarinet player Tobias Delius, recipient of the Dutch Boy Edgar Prize in 2004, has lived in Amsterdam for an extended period and is strongly affiliated with musicians of the local improv scene like Han Bennink, Tristan Honsinger, Wilbert de Joode and the ICP. In recent years he has been living in Berlin.
With playfulness and charm as well as technical prowess, Tobias Delius has excelled in multiple projects, whether in his own quartet or as a partner of Georg Graewe, Steve Lacy, Bill Frisell, Louis Moholo, Cor Fuller and Ray Anderson.
Achim Kaufmann has counted among the most exhilarating and inspiring personalities of the European Jazz and improv scene for many years. His music shows harmonic subtlety and structural depth. By way of reflected examination of the tradition he has evolved, as a pianist and as a composer, a finely nuanced, contemporary musical language consisting in equal parts of poetry, energy and abstraction. This earned him the renowned Albert Mangelsdorff Prize from Germany.
Dieter Manderscheid achieved his first success with the Wittek-Kaiser-Manderscheid Trio. He has since gone beyond the circle of the Cologne Jazzhaus and become one of the most sought-after freelance bassists. He collaborated with a broad range of musicians, including Harry Beckett, John Betsch, Peter Brötzmann, Phil Minton, Radu Malfatti, Michael Moore, Barre Phillips, Frank Samba, Günther Sommer, Georg Graewe, Klaus König, Kenny Wheeler and Dirk Raulf. "His playing is addictive," enthused Ekkehard Jost.
Drummer Martin Blume "is among the leading representatives of European improvised music, commanding a virtually compositional sensibility that shows a close association with New Music." US Magazin Signal to Noise.
Since the early 80's he has collaborated in an international avant-garde context of Jazz, improv and New Music in diverse formations with the likes of Peter Brötzmann, Peter Kowald, Johannes Bauer, Phil Minton, Lol Coxhill, Georg Gräwe, Jim Denley, Luc Houtkamp, Phil Wachsmann, John Butcher, Thomas Lehn, Xu Feng Xia, Ken Vandermark and Kent Kessler.
Rudi Mahall, bass clarinet
Flo Stoffner, guitar
Paul Lovens, drums
"There are combinations with a peculiar character which often in itself arouses interest." Fitting as this comment may seem for this trio, this quote is how the ducal personal cook F. G. Zenker introduced a recipe for a bread cake ....
Mein Freund der Baum (My Friend the Tree) brings together three generations of improvisors. Musically and personally, the three members are on friendly terms. Paul Lovens and Rudi Mahall know each other from groups like Globe Unity Orchestra or Aki Takase's band. Paul Lovens and Flo Stoffner have been affiliated for ten years by their work in a trio with Martin Schütz as well as the trio Die Öfen that invited Rudi Mahall as a guest for last year's tour.
Mein Freund der Baum is a group with a unique sound revealing new aspects of improvisation.
Taken from recordings made at two 2016 concerts in Zurich and Lisbon, the CD Mein Freund der Baum was published by the Zurich-based label WideEarRecords as WER032. The tracks are called "Mein," "Freund," "Der," and "Baum." In concluding his review on freejazzblog.org Martin Schray writes: "The album resembles a chamber-music-like update of the Evan Parker/Derek Bailey/Han Bennink album The Topography of the Lungs, reflecting this cutting edge free improv classic’s ultra-concentrated force and controlled energy. It’s full of excellent musicianship and unexpected twists and turns. Really recommended."
Elisabeth Coudoux, cello
Pascal Niggenkemper, bass
Ricardo Jacinto, cello
Félicie Bazelaire, bass
"Beat the odds“ a double dialog of two cellos and two basses arranged in a square. Strings struck by a variably controlled propeller driven by an engine. An organic interaction of pulsing organisms (beats), stationary sound planes (drones) and personal playing techniques eliciting a fascinating sonic cosmos.
German-French bassist and composer Pascal Niggenkemper, "one of the most adventurous double bassists of the current music scene" according to New York City Jazz Records and a "genius for sound exploration" according to the Chicago Reader, creates his music between the poles of improvisation and composition using his own language. His work includes solo playing (changing the instrument's acoustics by means of preparation) and the use of engines exploring the interaction between man and machine. He already performed at Offene Ohren with the Trio BaLoNi.
French bassist and cellist Félicie Bazelaire is a member of Onceim, of the Ensemble Intercontemporain and the Hodos Ensemble and has been performing works by composers like Cage, Feldman and Scelsi as well as by composers/improvisers like P. Badaroux, P. Bosshard, B. Denzler and D'incise. She has received the cello award of Reims Conservatory, has a master's degree for double bass and education from the Paris Conservatory and holds a Certificat d'Aptitude. She is currently teaching at the Conservatories of Aubervilliers-La Courneuve and Orsay.
Elisabeth Coudoux is a cellist working at the interface of different genres: free improvisation, experimental, New Music and Jazz. Building on her classical education, she studied Jazz with Frank Gratkowski and Dieter Manderscheid in Cologne. Apart from her own projects (including Emissatett that could be heard at Offene Ohren in 2016), she plays in many ensembles and in interdisciplinary collaborations with dancers, visual artists and writers. She is an initiator and a member of IMPAKT, a newly founded collective for free improvisation in Cologne.
Lisbon-based artist and musician Ricardo Jacinto has a strong focus on the relationshipe beween sound and space. He is currently gaining his doctorate at the Sonic Arts Research Center in Belfast. He frequently collaborates in interdisciplinary projects with other artists, musicians and architects and has founded the cultural organization OSSO, a collective of musicians, dancers, graphic artists, writers, filmmakers and performers.
Ricardo Jacinto has a degree in architecture from the Lisbon University and has attended graduate courses at the School of Visual Arts in New York. Additionally, he has enjoyed a musical education at the Hot Clube de Portugal and the Academia de Amadores de Música in Lisbon.
Jacques Demierre, piano / CH
Dorothea Schürch, singing saw, voice / CH
Urs Leimgruber, saxophone / CH
Roger Turner, drums / GB
Hannah Marshall, cello / GB
Thomas Lehn, analog synthesizer / DE
It is nine years ago that 6ix has visited Offene Ohren for the last time, then still under the name SIX. Now, thanks to receiving the APPLAUS award (Initiative Musik) for the third time for our concert program, we can bring them back.
Since then, there have been two lineup changes: instead of Charlotte Hug (viola and voice) and Anne Gillot (bassoon and recorders) it is cellist Hannah Marshall and percussionist Roger Turner who help fashion the fragile acoustics of this experimental sextet, that for ten years has been reinventing itself consistently for every performance.
Full of reflection, the music of 6ix is pushing the limits and at the same time building on the energetic, acoustic and architectonic characteristics of the concert room. Evolving with the room's dynamics, sounds, noises and silences emerge and interact.
6ix is made up of six musicians who rank among the leading protagonists of the free improv scene in Europe:
Jacques Demierre's website offers various audio samples (Uncool 2011).
The tour of 6ix is supported by the Swiss Arts Council and the Fondation Suisa .
On October 25, 2017, the Federal Prize APPLAUS was awarded for the fifth time in Dresden by the Minister of State for Culture and the Media, Prof. Monika Grütters, to independent music clubs and organisers for their excellent live music programs. We were in attendance.
For its "outstanding live program", Offene Ohren e.V. has received this award for the third time after 2014 and 2016. We are highly honored and encouraged to continue in our course. With the prize money, we will continue to offer you exciting concert experiences in 2018.
The Venue Programme Award APPLAUS – Auszeichnung der Programmplanung unabhängiger Spielstätten - is realised by the Initiative Musik, with the collaboration of the Bundeskonferenz Jazz (BK Jazz) and the LiveMusikKommission, Verband der Musikspielstätten in Deutschland e.V. (LiveKomm). The bulk of the project’s funding is provided by the German Federal Commissioner for Culture and Media.
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!