#Orphy Robinson

[dustedmagazine]

Various Artists — Creiriau Y Delyn Rawn / Relics of the Horsehair Harp (Amgen)

Imagining new music is nothing new. Individually or collectively, spontaneously or through painstaking craft, research, and development, legions of music-makers have tried to come up with something sufficiently novel out of sounds and (sometimes) words that it hooks listeners’ attention. You can be sure that someone’s at it right now. But you probably won’t lose the farm if you bet it on the notion that the sequential imagining that went into the conception and execution of Creiriau Y Delyn Rawn is an unprecedented process that has yielded a remarkable outcome.

The Welsh language title translates into English as Relics Of The Horsehair Harp. It was produced by harpist Rhodri Davies as a companion to Telyn Rawn, a solo album that he released on his Amgen label. Telyn Rawn is named after the instrument that it introduced, a horsehair harp that Davies commissioned to be made by a couple harp makers and a leatherworker. Harps have a particular cultural resonance in Wales, since despite the instrument’s popularity, the art of making them nearly died out before making a comeback as part of a larger resurgence of Welsh culture. The original telyn rawn was made from wood and equine byproducts. After the sturdier Italian triple harp made it to the British Isles in the 1600s, it replaced the telyn rawn so thoroughly that for a couple centuries the triple harp was actually known as the Welsh harp (it was replaced by the pedal harp in the 20th century) while its predecessor was practically forgotten. When Davies, whose wide-ranging music encompasses free improvisation, modern composition, Konono-inspired junkyard noise, and rock and roll, got curious about those early harps, no one knew how to make one. The instrument on Telyn Rawn was designed using descriptions in early Welsh poetry and a couple pages addressing harp-tuning practices in a 17th century manuscript by Robert ap Huw.

When Davies finally set about playing the thing, he did not revive antique repertoire; he improvised short pieces equally informed both by his research and his own practice of playing freely, alone and with musicians like John Butcher, Andrew Leslie Hooker and the trio IST. Intricately plucked or vigorously bowed, some of the album’s eighteen tracks hinted at folkloric models, while others undid dense knots of sound that burst with harmonics and radiated overtones. Telyn Rawn came out during that first COVID summer, which was bad for many things, but was not so bad for spending some of that time that one wasn’t gigging cooking up new ideas. After its release, Davies reached out to friends and associates with this request: “I asked each contributor to imagine that the musical material improvised in 2020 was an ancient musical form that had fully existed in the medieval period, and that each of their responses were to have happened centuries after the imagined formation of the Telyn Rawn pieces.”

Such a brief can be taken in many directions, depending on the respondent’s experiences, equipment, and willingness to dig a new network out of someone else’s wormhole. Sixteen participants gave a response to one or two specific tracks from Telyn Rawn. Laura Cannell’s  opening piece, “The Tattered Skies Above,”  wastes little effort on interpreting Davies’ “Penriwh.” Instead, she constructs a fanfare from overdubbed recorders whose jolting sonorities and processional air establishes a through line linking a span of fantasized centuries. Next up, Orphy Robinson makes like a free-bopping jazz man. On “Nude, Lewd, Rude, Mood Food” he transfers bits of Davies’ intricate “Gorchan Sali” to a salaciously bulbous-sounding marimba, accelerates the tempo and lets it rip. Jem Finer plays “Y Geseg Fedi” pretty faithfully, simply transposing bowed harp to hurdy-gurdy; guitarist C. Joynes is similarly respectful to “”Dygan tro’r Ebill.” Credited as playing computer and mouse, “C. Spencer Yeh” visits a cut-and-splice surgical strike upon Davies’ recording of “Afon “Dewi Fawr;” Pat Thomas might do something similar on the turbulent electronic eruption, “Maddad.”

Not only does Davies have a strong musical personality that transcends the particular harp he plays and the century his head’s in; he has picked his emissaries wisely. Despite the disparity of instrumentation and approach exhibited by the sixteen contributing musicians, Creiriau Y Delyn Rawn feels pretty cohesive as it carves out an imaginary timeline of musical evolution.

Bill Meyer

[invisible-show]

Indica e Performatorio in collaborazione con Invisible°Show ⎔ Round For Two Musicians ⎔ Teatro Romano di Brescia e all’Orto Botanico di Bergamo ⎔ Domenica 23 aprile ore 11.00

Indica e Performatorio presentano in collaborazione con Invisible°Show

Domenica 23 aprile ore 11.00 (di mattina)

Round For Two Musicians

Una performance collettiva alla quale ti invitiamo a partecipare.

Si sviluppa su due livelli differenti: offline – dal vivo – nei centri urbani di Brescia e Bergamo, e online – in un luogo di incontro virtuale – sul canale YouTube di Bao

Come si svolge?

Al Teatro Romano di Brescia e all’Orto Botanico di Bergamo, Città Alta, due musicisti – rispettivamente Orphy Robinson e Riccardo La Foresta – improvviseranno, in simultanea, una partitura grafico-temporale condivisa: due percorsi paralleli e a distanza. Contemporaneamente, il pubblico presente riprenderà con il proprio device ciò che vede – il musicista e l’ambiente circostante – inviando in streaming un personale punto di vista. Attraverso lo streaming, in un unico ambiente simbolico e virtuale, i live dei due musicisti si incontreranno intrecciandosi al racconto visivo inviato dal pubblico, costruendo così – come in un mosaico – un’unica esperienza collettiva, fruibile anche da chi è a distanza.

Perché?

Perché ogni persona, artista e pubblico, ha lo stesso valore e la stessa importanza.

Perché è sempre il singolo contributo a rendere ricca l’esperienza condivisa.

Perché la partecipazione attiva è ciò che rende memorabile il vissuto.

Vuoi far parte della performance?

Ti aspettiamo all’Orto Botanico di Bergamo (Città Alta, scaletta Colle Aperto) con Riccardo La Foresta alle 11.00.

La partecipazione è gratuita ma i posti sono limitati. Iscriviti subito

Quando arriverai ti forniremo le istruzioni tecniche necessarie a partecipare allo streaming in pochi, semplici, passi.

N.B. Se desideri assistere senza partecipare alla performance, non serve alcuna prenotazione: ti aspettiamo! L'accesso è libero.

A zonzo: la passeggiata performativa

Prima che tutto cominci, ti proponiamo un percorso insolito che partendo da Bergamo bassa sale fino all’Orto Botanico. Lo potremo percorrere insieme – il ritrovo è alle 9:45 esattamente qui al parcheggio della Carrefour in Via Baioni – ascoltando questa playlist che potrai utilizzare anche per visitare con tutta calma l’Orto e le sue meraviglie o tutte le volte che avrai voglia di chiudere gli occhi e aprire le orecchie. {Se desideri prender parte assieme a noi alla passeggiata ti chiediamo di farcelo sapere rispondendo a questa mail}

Se invece preferisci un po’ di solitudine, utilizza questo percorso e la playlist per conto tuo, in ogni caso ne saremo felici! Ti ricordiamo infine, gli orari della ZTL e che parcheggiare in Città Alta è sempre più difficile. Scopri di più su Round For Two Musicians N.B. Il programma è confermato anche in caso di pioggia.

[mhvarchive]

Paul Hamlyn Foundation Awards for Artists announced!

£600,000 awarded to new recipients of Awards for Artists 2022:

Visual Artists: Vanley Burke, Ntiense Eno-Amooquaye, Trevor Mathison, Libita Sibungu, Alberta Whittle.

Composers: Laura Bowler, Brìghde Chaimbeul, Sarathy Korwar, Mariam Rezaei, Orphy Robinson.

Awards for Artists supports visual artists and composers at a pivotal moment in their careers. Each award offers recipients £60,000 over three years – with no obligations or conditions as to how the money is used. Not only the largest award in the UK, this ‘no strings attached’ approach sets the awards apart from other schemes by giving artists the time and freedom to develop their creative ideas and to further their personal and professional growth.

The Awards reflect the Foundation’s strong belief in the value of artists to society, and the vital contribution that they make to our culture. This year’s recipients span a broad spectrum of visual arts practice and composition, including Mariam Rezaei’s pioneering turntablism; Sarathy Korwar’s heady mix of South Asian jazz and Indian classical music; Ntiense Eno-Amooquaye’s exploration of the intersections of writing, scenography and performance; and Vanley Burke’s intimate photographs documenting the lives of Black British people.

*Photo credits (top L-R): Edna Mae Francis, Josef Kinczak, Claudette Johnson, Becky Tyrrell and Matthew Arthur Williams; (below L-R): Robin Clewley, Steve Bliss, Fabrice Bourgelle, Fabrice Bourgelle, Fair Light Photos and Will Strange.

[gatheredinamber]

2021-11-13 Queen Elizabeth Hall, London

This was a presentation of Nick Drake's Bryter Layter album, part of the London Jazz Festival, arranged by Orphy Robinson and Rowland Sutherland and featuring:

Orphy Robinson - piano, keyboard, marimba

Rowland Sutherland - flute

Alasdair - guitar, vocals

Emily Portman - banjo, squeezebox, vocals

Dudley Phillips - acoustic and electric bass, vocals on Riverman

Gary O'Toole - drums.

They played all of Bryter Layter, not in the original order, with Alasdair and Emily alternating on vocals, plus Nick Drake's Riverman. Alasdair sang Waxwing, backed by Dudley and Emily. Emily sang Barbara Allen(the same version as appears on a Furrow Collective album).

They're cagey about photography at this venue, so I only took this one snap at the end. The performances got stronger through the evening. It felt like some comfort zones were being stretched, in a good way.

[stillunusual]

Orphy Robinson All Stars: The Bobby Hutcherson Songbook @ Royal Northern College Of Music, Manchester 26/5/2019

[claritalunaluna76]

The UK parliament’s Digital, Culture, Media and Sport Committee is working on its report (and recommendations) from its inquiry into the economics of music streaming. One of the big talking points during the inquiry’s evidence sessions was equitable remuneration (ER): specifically extending it from radio and TV to some streams.

The Broken Record campaign has made ER one of its key requests of the committee; labels have argued firmly against it; and (in our view, at least) the committee seems to be leaning more towards the former camp. But the committee isn’t the British government, so if ER is to be extended, ministers will need to be convinced too.

That campaign is already starting. A letter sent to Prime Minister Boris Johnson – and shown to Music Ally this morning – sees a who’s who of British musicians backing such an extension. Sir Paul McCartney, Annie Lennox, Chris Martin, Jimmy Page, Robert Plant, Kate Bush, Roger Daltrey, Damon Albarn, Noel Gallagher, Laura Marling, Sir Tim Rice… and many more.

“Only two words need to change in the 1988 Copyright, Designs and Patents Act. This will modernise the law so that today’s performers receive a share of revenues, just like they enjoy in radio,” argues the letter. But it also calls for a competition inquiry (or at least a government referral to watchdog the Competition and Markets Authority); for songwriters to get a bigger share of streaming royalties; and the establishment of a dedicated regulator “to ensure the lawful and fair treatment of music makers”.

Later today, we’ll publish our quarterly Music Ally report, including our analysis of the key talking points of the inquiry, and what might happen next. One of our suggestions was that while the DCMS committee seemed sympathetic to the Broken Record campaign’s arguments, the government ministers seemed to be leaning more towards labels’ view of the world.

The letter shows that the former group are going to work hard to change that, and in wheeling out the musical big guns, the intensity of the lobbying has stepped up several notches – even before the DCMS committee’s report has come out. Labels and their representative body the BPI must now decide how best to respond.

Here is the full text of the letter, and its signatories:

———-

Dear Prime Minister,

We write to you on behalf of today’s generation of artists, musicians and songwriters here in the UK.

For too long, streaming platforms, record labels and other internet giants have exploited performers and creators without rewarding them fairly. We must put the value of music back where it belongs – in the hands of music makers.

Streaming is quickly replacing radio as our main means of music communication. However, the law has not kept up with the pace of technological change and, as a result, performers and songwriters do not enjoy the same protections as they do in radio.

Today’s musicians receive very little income from their performances – most featured artists receive tiny fractions of a US cent per stream and session musicians receive nothing at all.

To remedy this, only two words need to change in the 1988 Copyright, Designs and Patents Act. This will modernise the law so that today’s performers receive a share of revenues, just like they enjoy in radio. It won’t cost the taxpayer a penny but will put more money in the pockets of UK taxpayers and raise revenues for public services like the NHS.

There is evidence of multinational corporations wielding extraordinary power and songwriters struggling as a result. An immediate government referral to the Competition and Markets Authority is the first step to address this. Songwriters earn 50% of radio revenues, but only 15% in streaming. We believe that in a truly free market the song will achieve greater value.

Ultimately though, we need a regulator to ensure the lawful and fair treatment of music makers. The UK has a proud history of protecting its producers, entrepreneurs and inventors. We believe British creators deserve the same protections as other industries whose work is devalued when exploited as a loss-leader.

By addressing these problems, we will make the UK the best place in the world to be a musician or a songwriter, allow recording studios and the UK session scene to thrive once again, strengthen our world leading cultural sector, allow the market for recorded music to flourish for listeners and creators, and unearth a new generation of talent.

We urge you to take these forward and ensure the music industry is part of your levelling-up agenda as we kickstart the post-Covid economic recovery.

Yours sincerely,

Full list of signatories:

Damon Albarn OBE

Lily Allen

Wolf Alice

Marc Almond OBE

Joan Armatrading CBE

David Arnold

Massive Attack

Jazzie B OBE

Adam Bainbridge (Kindness)

Emily Barker

Gary Barlow OBE

Geoff Barrow

Django Bates

Brian Bennett OBE

Fiona Bevan

Alfie Boe OBE

Billy Bragg

The Chemical Brothers

Kate Bush CBE

Melanie C

Eliza Carthy MBE

Martin Carthy MBE

Celeste

Guy Chambers

Mike Batt LVO

Don Black OBE

Badly Drawn Boy

Chrissy Boy

Tim Burgess

Mairéad Carlin

Laura-Mary Carter

Nicky Chinn

Dame Sarah Connolly DBE

Phil Coulter

Roger Daltrey CBE

Catherine Anne Davies (The Anchoress)

Ian Devaney

Chris Difford

Al Doyle

Anne Dudley

Brian Eno

Self Esteem

James Fagan

Paloma Faith

Marianne Faithfull

George Fenton

Rebecca Ferguson

Robert Fripp

Shy FX

Gabrielle

Peter Gabriel

Noel Gallagher

Guy Garvey

Bob Geldof KBE

Boy George

David Gilmour CBE

Nigel Godrich

Howard Goodall CBE

Jimi Goodwin

Graham Gouldman

Tom Gray

Roger Greenaway OBE

Will Gregory

Ed Harcourt

Tony Hatch OBE

Richard Hawley

Justin Hayward

Fran Healy

Orlando Higginbottom

Jools Holland OBE, DL

Mick Hucknall

Crispin Hunt

Shabaka Hutchings

Eric Idle

John Paul Jones

Julian Joseph OBE

Kano

Linton Kwesi Johnson

Gary Kemp

Nancy Kerr

Richard Kerr

Soweto Kinch

Beverley Knight MBE

Mark Knopfler OBE

Annie Lennox OBE

Shaznay Lewis

Gary Lightbody OBE

Tasmin Little OBE

Calum MacColl

Roots Manuva

Laura Marling

Johnny Marr

Chris Martin

Claire Martin OBE

Cerys Matthews MBE

Sir Paul McCartney CH MBE

Horse McDonald

Thurston Moore

Gary “Mani” Mounfield

Mitch Murray CBE

Field Music

Frank Musker

Laura Mvula

Kate Nash

Stevie Nicks

Orbital

Roland Orzabal

Gary Osborne

Jimmy Page OBE

Hannah Peel

Daniel Pemberton

Yannis Philippakis

Anna Phoebe

Phil Pickett

Robert Plant CBE

Karine Polwart

Emily Portman

Chris Rea

Eddi Reader MBE

Sir Tim Rice

Orphy Robinson MBE

Matthew Rose

Nitin Sawhney CBE

Anil Sebastian

Peggy Seeger

Nadine Shah

Feargal Sharkey OBE

Shura

Labi Siffre

Martin Simpson

Skin

Mike Skinner

Curt Smith

Fraser T Smith

Robert Smith

Sharleen Spiteri

Lisa Stansfield

Sting CBE

Suggs

Tony Swain

Heidi Talbot

John Taylor

Phil Thornalley

KT Tunstall

Ruby Turner MBE

Becky Unthank

Norma Waterson MBE

Cleveland Watkiss MBE

Jessie Ware

Bruce Welch OBE

Kitty Whately

Ricky Wilde

Olivia Williams

Daniel “Woody” Woodgate

Midge Ure OBE

Nikki Yeoh

[burlveneer-music]

Zara McFarlane with Dennis Bovell - East Of The River Nile

Brownswood-signed, sublimely talented vocalist Zara McFarlane is back, linking up with legendary producer Dennis Bovell for a new single picking up where she left off on 2017 album, Arise. She carves out a soulful, reggae -and dub-influenced sound, marrying the rhythms of her Jamaican heritage with a finely-tuned jazz musicality. Delivering four different reinterpretations of the title cut from Augustus Pablo’s 1977 classic album, ‘East of the River Nile’, she sings the original’s melodica melody, her crystal-toned vocals as the track’s guiding force. Since announcing her arrival with her 2011 debut, Until Tomorrow, she’s released 2014’s assured follow-up If You Knew Her, and 2017’s Arise, where she took a further step in lacing together her different strands of musical upbringing. In that time, she’s also worked with house music icon, Louie Vega, collaborated with New York trumpeter, Leron Thomas, and supported iconic acts such as Hugh Masekela and Gregory Porter. She’s performed at iconic venue, the Royal Festival Hall, as part of Orphy Robinson’s reinterpretation of Van Morrison’s Astral Weeks, and toured venues and festivals internationally, from Istanbul, to Vietnam and St. Lucia.creditsreleased March 1, 2019 Zara McFarlane - Vocals Nathaniel Cross - Trombone Moses Boyd - Drums Jay Darwish - Electric Bass Ashley Henry - Keys Junior Alli-Balogun - Percussion Binker Golding - Tenor Saxophone Produced by Moses Boyd Arranged by Nathaniel Cross Mix and dubs by Dennis Bovell

[londranotizie24]

Liberate Rame: tra filosofia e jazz all’Iic

Liberate Rame: tra filosofia e jazz all���Iic Di Simone Platania Liberate Rame, tra filosofia e jazz l’Iic di Londra attende i propri ospiti per celebrare Franca Rame il 23 settembre. Liberate Rame, tra filosofia, jazz e teatro all’Istituto Italiano di Cultura di Londra Tra gli eventi confermati e che non hanno subito rinvii a causa dei funerali di Stato della Regina, l’Iic ospita l’evento Liberate Rame. La serata, attesa per il 23 settembre, vede la filosofa italiana Adriana Cavarero presentare il suo intervento La voce delle sirene. La talk e i suoi temi vertono sul piacere del canto e sull'unicità della voce. Adriana Cavarero è infatti una filosofa italiana. Professoressa onoraria presso l'Università di Verona, è nota per i suoi scritti sul femminismo, la filosofia politica e la letteratura.Tra i suoi ultimi libri pubblicati ricordiamo, tra gli altri, Inclinations: A Critique of Rectitude (2016); Surging Democracy. Note sul pensiero politico di Hannah Arendt (2021). In seguito Mattea Fo, Presidente della Fondazione Fo Rame, nipote di Franca Rame e Dario Fo, introduce Liberate Rame, una performance teatrale jazz di Filomena Campus (voce) e Steve Lodder (pianoforte). La performance è dedicata alla compianta artista teatrale Franca Rame. La performance di Campus è infatti un omaggio alla collega. Presenta una lettera a Fo che Rame pubblicò pochi mesi prima della sua morte, intrecciata con brevi estratti dai monologhi comici della drammaturga, arrangiamenti di brani popolari scritti da Fo e Rame e nuove composizioni jazz su Rame scritte da Campus e dal pianista Steve Lodder. Campus esplora la relazione tra l'improvvisazione vocale e l'improvvisazione teatrale, che era uno dei molti talenti di Rame, nata in una famiglia di attori e comici itineranti con radici nella Commedia dell'Arte. Questo progetto fa parte dell'attuale ricerca di Campus su Franca Rame presso la Royal Central School of Speech and Drama, sostenuta da LAHP (London Arts and Humanities Partnership). Filomena Campus e Steve Lodder alla serata Liberate Rame Oltre alla sopracitata Adriana Cavarero, filosofa, professoressa e scrittrice italiana nota in patria e all’estero, la voce di Filomena Campus e le note di pianoforte di Steve Lodder accompagneranno gli ospiti durante la serata. Filomena Campus è una cantante, teatrante, accademica di fama internazionale. Si è esibita in numerosi festival jazz in tutto il mondo e ha partecipato a tournée o collaborato con i più rinomati artisti jazz, tra cui Orphy Robinson, Rowland Sutherland, Cleveland Watkiss e la London Improvisers Orchestra. Nel 2010 ha fondato il Filomena Campus Quartet. Nel 2020 ha iniziato un dottorato di ricerca presso la Royal Central School of Speech and Drama sull'artista teatrale internazionale Franca Rame. Steve Lodder è un pianista, tastierista, compositore e organista. In origine studioso di organo a Cambridge, Steve ha scritto diversi libri - uno su Stevie Wonder, l'altro sull'organo Hammond e La Bibbia della Tastiera. È stato collaboratore musicale di Paul McCartney nei progetti Standing Stone ed Ecce Cor Meum. Inoltre è anche l'arrangiatore musicale degli Zappatistas di John Etheridge. La Fondazione Dario Fo e Franca Rame è stata creata nel 2019 per mantenere viva la memoria della vita e del lavoro di Dario Fo e Franca Rame. ... @ItalyinLDN Continua a leggere su Read the full article

[sumpix]

Orphy Robinson: why Van Morrison's Astral Weeks is a secret jazz masterpiece |

  The musician celebrates the 50th anniversary of Morrison’s Astral Weeks with a reimagining that draws out its latent jazz energy

‘’There was a freshness. It felt like Van Morrison could’ve recorded it yesterday, even though this year marks its 50th anniversary. When something is good, it works at any time. I was fascinated by the background of the musicians – jazz artists like the drummer Connie Kay, who came from the improvisational Modern Jazz Quartet – and I liked this idea of music coming from people you wouldn’t normally associate with that genre. ‘’

(via Orphy Robinson: why Van Morrison's Astral Weeks is a secret jazz masterpiece | Music | The Guardian)

[deepartnature]

Ahmed Abdul-Malik pioneering Arabic jazz

[Ahmed] Pays Tribute to a Titan of Islamic Jazz: “An eruption of cyclic motifs, pounding clusters, and insistent grooves, [Ahmed]’s Nights On Saturn is an inspired reimagining of Ahmed Abdul-Malik’s pioneering Arabic jazz. It’s the third album from the Anglo-French quartet, which consists of pianist Pat Thomas, alto saxophonist Seymour Wright, bassist Joel Grip, and drummer Antonin Gerbal, and their first for American label Astral Spirits—timely recognition for one of the most adventurous groups in contemporary music. A singular musician, the Oxford-based Thomas has been active since the 1980s, bringing his avant-garde pianism and wild electronics to collaborations with Derek Bailey, Lol Coxhill, Orphy Robinson and Irreversible Entanglements, whose bassist Luke Stewart provides the sleeve notes to Nights On Saturn. ...”

Bandcamp (Audio)

W - Ahmed Abdul-Malik

Discogs

Spiritmuse Records presents Ahmed Abdul-Malik (Audio) 1:31:43

[black-whole]

Black Top Presents: Hamid Drake, Elaine Mitchener, William Parker, Orphy Robinson, Pat Thomas

[dustedmagazine]

Pat Thomas —كنز القلب [KANZA AL QALB] (scatterArchive)

Pat Thomas has been a strong presence on the English and European improvisational scene since the 1990s. His contributions as pianist and co-conceptualist in the quartet  أحمد  [Ahmed] have elevated his profile a bit, but that’s certainly not the sum of his work. He also plays electric keyboards and electronic devices, both solo and in ensembles, and his improvisational methods find freedom where others might perceive roadblocks; for examply, he has a long-running partnership with Orphy Robinson that honors their shared roots by pointedly incorporating Caribbean styles into free improvisations.  

القلب [KANZA AL QALB] is the fifth in a series of Thomas solo releases on Scatter Archives, a Scottish label whose pay what you wish, download-only catalog is quite a trove. This music on this album, like its predecessors, is completely electronic, initially performed on an iPad loaded with the software sampler Kontakt and subsequently warped using IRCAM’s Time Stretch application. Its title serves to underscore a point made clear in the interviews that Thomas has given on the occasion of أحمد  [Ahmed]’s two recent releases, Wood Blues and Giant Beauty;that Islam and mystic awareness are at the heart of Thomas’ creative practice. القلب [KANZA AL QALB] translates as Treasure of the Heart, foregrounding the belief that the heart holds knowledge that the intellect can’t grasp. It seems significant to apply such a statement to music made entirely by electronic means, just as it’s important to note that a lazy listener might mistake it القلب [KANZA AL QALB] for a record of inscrutably organized percussion and strings. The point, one supposes, is that what you see and what you’re told aren’t as important as what you deeply feel and what you do.

In this case, Thomas is manipulating the sounds of bells, cymbals, and other metallic objects which he has extracted from easily obtainable freeware. Hacks use this stuff to make ignorable soundtracks every day, but Thomas obtains from it something genuinely strange. Frequency-tweaked, digitally melted, temporally disrupted, and carefully collaged, the closer you listen to them, the further they retreat from familiarity. Sounds flicker and melt (“REFLECT”), dart and drip (“QALBC”), or smack messily back and forth across the stereo spectrum like deafened, caffeinated, flak-jacket-clad bats careening through HVAC vents (“REFLECT 2”). Mystery, this music demonstrates, is close at hand and completely procurable through ordinary means.

Bill Meyer

[invisible-show]

Indica e Performatorio  in collaborazione con Invisible°Show ⎔ Round For Two Musicians ⎔ Teatro Romano di Brescia e all’Orto Botanico di Bergamo ⎔ Domenica 21 maggio ore 11.00

Nella puntata precedente… Era una domenica a rischio pioggia come altre d’aprile (il 23 per l’esattezza) e Riccardo La Foresta si esibiva all’Orto Botanico mentre, dall’altro capo del mostro-a-due-teste Capitale della Cultura 2023, al Teatro Romano di Brescia, Orphy Robinson percorreva la medesima partitura. Da qualche parte online (sul canale Youtube di Bao, in realtà https://www.youtube.com/@bao-bresciaartsobservatory4073/videos) le due esecuzioni si intrecciavano in un unico live, contrappuntato dalle esperienze visive, in soggettiva, del pubblico che inviava in streaming le riprese video di ciò che stava osservando. Il 21 maggio (Giro d’Italia non ti temiamo) si torna all’Orto Botanico (https://www.ortobotanicodibergamo.it/) con Giancarlo Nino Locatelli (https://www.youtube.com/watch?v=TraqhBdm-Eg). Anche stavolta sarà un’esperienza che costruiremo insieme a chi desidererà farne attivamente parte ma daremo il benvenuto anche a chiunque vorrà solamente assistere, gongolando tra la musicalità di Locatelli e le inflorescenze dell’Orto.

Per conoscere meglio il progetto e prenotare il tuo posto per la performance, clicca qui (https://www.eventbrite.com/e/biglietti-round-for-two-musicians-bergamo-631416873867).

Se trovi i posti esauriti, non disperare: in ogni caso ti aspettiamo -potrai assistere al live e gironzolare per il museo.

L’ingresso è gratuito. Round For Two Musicians è un Progetto di Associazione Lampedée e Performatorio nell'ambito di Bergamo Brescia Capitale della Cultura 2023, realizzato con la collaborazione di Invisible Show.

[adsmusiconstellations]

The Wire: Top 10 Releases of 2021.

L'Rain - Fatigue

Moor Mother - Black Encyclopedia of the Air

Floating Points / Pharoah Sanders / London Symphony Orchestra - Promises 

Low - Hey What

Daniel Bachman - Axacan

John Cage - Number Pieces

Hamid Drake / Elaine Mitchener / William Parker / Orphy Robinson / Pat Thomas - Some Good News

Jana Rush - Painful Enlightenment

Circuit Des Yeux - -io

Phew - New Decade

[gatheredinamber]

I’m not sure how long this will be available, but here is the performance broadcast earlier today featuring Orphy Robinson, Rowland Sutherland, Emily Portman and Alasdair - as Modern Jazz & Folk Ensemble. Set list (from unreliable memory)

Bryter Later

Hazey Jane I (sung by Emily Portman)

Waxwing (sung by Alasdair)

Barbara Allen (sung by Emily Portman)

Northern Sky (sung by Alasdair)

One of these Things First (sung by Emily Portman)

[whiteemotion]

#Repost post of @cleveland_watkiss Much thanks to: Phil England @thewiremagazine 🙏🏿 #repost @torihandsley ・・・ Wonderful to see our beloved Freedom night written about so enthusiastically by the Wire Magazine🙏 Thanks to Phil England for celebrating this creative, international community event, Orphy Robinson, Cleveland Watkiss, Paul Bradshaw and myself have been hosting and curating for many years. Thanks also to the Vortex team, our usual home, the volunteers, door staff, sound engineers and more, who have helped nurture this night for many years. Photographs of: Beibei Wang, Klaus Bru, Randolph Matthews, @pierrebouvierpatron and Blanca Regina. And thanks to all the artists especially since April who've come together to make our night what it is 👊 #freedom #improvisation #performancecoach #community #vortex @thewiremagazine @orphyvibes @cleveland_watkiss @paulbradshaw_snc98 @vortexjazzclub https://www.instagram.com/p/CHxYg73Dkq4/?igshid=6bwh2bd9xrvo