#joëlle léandre

[marcogiovenale]

lettura di "istruzioni preliminari", di nanni balestrini, 10 gen. 2011 @ cox18 - milano

  CAOSMOGONIA @ COX 18, 10 gennaio 2011 https://www.inventati.org/apm/agenda.php?step=gennaio11 Leggono Nanni Balestrini e Giada Balestrini Interventi musicali di Jöelle Léandre https://archive.org/details/IstruzioniPreliminariNanniBalestrini10gennaio2011L Caosmogonia è il titolo dell’ultima raccolta di poesia di Nanni Balestrini che vi invitiamo a scoprire e conoscere attraverso una…

[radiophd]

john cage -- the wonderful widow of eighteen springs

[unaturalhistory]

Joëlle Léandre

Photo Lauren Deutsch

[zaratoussetrop]

Joëlle Léandre et Pascal Contet

[instants-chavires]

archive ! Derek Bailey tribute night "Hello Goodbye Mr Bailey” at Instants Chavirés Montreuil/Paris 14-04-2006 including different groups with maestri (from top left to bottom right) Steve Beresford, Jean-François Pauvros, Jean-Marc Foussat, Etienne Brunet, Hélène Breschand, Thierry Madiot, Hasse Poulsen, Raymond Boni, Pascal Contet, Urs Leimgruber, John Russel, Bertrand Denzler, Roger Turner, Paul Rutherford, Joëlle Léandre, Thierry Schaeffer, Olivier Benoit, Dan Warburton, Jean-Luc Guionnet, Phil Wachsmann, Malcolm Goldstein — absent for the photo: Barre Phillips, Noël Akchoté, Andrew Sharpley. Photo Gérard Rouy

[lamilanomagazine]

Bologna, arriva a gennaio Josef Nadj: con due gli spettacoli/mostre

Bologna, arriva a gennaio Josef Nadj: con due gli spettacoli/mostre. A Josef Nadj, coreografo ungherese (ma francese d’adozione) punto di riferimento della danza contemporanea europea, Emilia Romagna Teatro ERT / Teatro Nazionale dedica nel mese di gennaio 2023 una personale di due eventi, nell’ambito del focus sulla drammaturgia fisica CARNE curato da Michela Lucenti: il progetto fotografico e performativo Mnémosyne (al Teatro Arena del Sole di Bologna, Sala Thierry Salmon, da martedì 17 a giovedì 19 gennaio, ogni giorno con tre turni da 20 minuti ciascuno alle ore 17.30, 19.30 e 21.30) e il suo più recente spettacolo, Omma, (al Teatro Arena del Sole di Bologna, Sala Leo de Berardinis, venerdì 20 gennaio alle 20.30 e al Teatro Bonci di Cesena domenica 22 gennaio alle ore 16.00). Generate in uno spazio creativo tra sogno e realtà, tradizione e modernità, tutte le opere di Josef Nadj testimoniano una sorprendente libertà del gesto e un costante desiderio di sperimentare nuove forme. Parallelamente a quello nella danza, il coreografo ha anche sviluppato un percorso come artista visivo e fotografo: in Mnémosyne i due ambiti si fondono, dando vita a una performance integrata in una mostra fotografica. Dentro una suggestiva camera oscura costellata di immagini che raccontano la storia personale e artistica dell’autore, lo spettatore assiste ad un’azione che accade al buio, in cui ogni movimento entra in dialogo con gli scatti esposti. Ciascuna immagine nasconde in sé un ricordo, noto solo a lui, e la scena è costellata da oggetti selezionati per il loro potere suggestivo, un patrimonio di memoria che non smette di ispirarlo. In omaggio all'Atlante incompiuto dello storico dell'arte tedesco Aby Warburg, Nadji anima una conversazione intima con il visitatore, instaurando una relazione speciale tra il corpo, lo sguardo e il luogo che la ospita. Josef Nadj è coreografo, danzatore, fotografo, artista visivo. Nato a Kanjiža (nell'ex Jugoslavia, odierna Serbia) da una famiglia di lingua ungherese, dopo la formazione alla Scuola di Belle Arti di Budapest si stabilisce a Parigi, dove studia mimo, tai-chi, buto e scopre la danza contemporanea, lavorando con Sidonie Rochon, Mark Tompkins, Catherine Diverrès e François Verret. Nel 1986 fonda la sua compagnia, debuttando l’anno successivo con Canard Pékinois, spettacolo che lo pone all’attenzione internazionale per l’originale cifra stilistica fra tradizione e modernità, in opere che si interrogano sul rapporto dell’uomo con se stesso, fra realtà e sogno. Seguono creazioni in cui Nadj esplora testi di Beckett, Kafka, Michaux, collabora con artisti visivi come Miquel Barceló e musicisti come Akosh Szelevényi, Joëlle Léandre. Dal 1995 al 2016 è direttore del Centre Chorégraphique National d’Orléans e nel 1999 crea al Théâtre de la Ville di Parigi Les veilleurs, tratto dall’opera di Frank Kafka, e Le temps du repli, trio per due danzatori e un percussionista allestito alla Scène Nationale d’Orléans. Tra le sue maggiori opere: Petit psaume du matin (2001) Les philosophes (2002, omaggio a Bruno Schulz), Journal d’un inconnu, Il n’y a plus de firmament (2003), Poussière de soleils (2004), e Last Landscape (2005), nata dalla collaborazione con il celebre percussionista Vladimir Tarasov. Informazioni: Teatro Arena del Sole, Via Indipendenza 44 – Bologna Biglietteria: aperta dal martedì al sabato ore 11-14 e 16.30-19 | tel. 051 2910910 | biglietteria@arenadelsole.it Biglietti da 25 a 7 euro. Teatro Bonci, Piazza Guidazzi – Cesena Biglietteria: aperta dal martedì al sabato ore 11-14 e 16-19 | nei giorni di spettacolo ore 17-21.30 | la domenica ore 15-16.30 | tel. 0547 355959 | info@teatrobonci.it Biglietti da 26 a 8 euro.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[dustedmagazine]

Damon Smith / Peter Kowald / Joëlle Léandre / Bertram Turetzky — Bass Duos 2000-2007 (Balance Point Acoustics)

BPA3CD1 Bass Duos 2000-2007 by Damon Smith + Peter Kowald, Joëlle Léandre & Bertram Turetzky

Since the bard of Stratford said most things better than any of us ever will, if you’re in a hurry, skip the review and just apply this misquote to the album at hand: “There are more things betwixt bow and bass, Horatio, than are dreamt of in your philosophy.” With the time you’re about to save, you can start listening to Bass Duos and begin dreaming more broadly. 

Bass Duos comprises three sessions, recorded by four bassists across a span of over seven years. Peter Kowald (1944-2002) can fairly be identified as the premier European free jazz bassist, as well as a global ambassador for free improvisation. Joëlle Léandre (b. 1951) has been an early and constant bridge-builder between the realms of free and new music. Bertram Turetzky (b. 1933) has occupied a similar position between jazz and orchestral music, and he literally wrote the book (The Contemporary Contrabass) on advanced bass techniques. Damon Smith, the common denominator between them, was born in 1972, and he has drawn from each of his duo partners some combination of inspiration, mentorship and instruction.

The session with Kowald came first. His recordings were permission-granters for Smith, helping the younger man to finesse a shift from jazz-cherishing punk who thought that everything had been done on the double bass to an improviser ready to stake it all on the possibility that he, too, might have something to contribute. The session, which was recorded and originally released shortly before Kowald’s death under the name Mirrors—Broken But No Dust, is a robust dust-up between a man who has done a lot and a man who has closely studied what the other man has done. Two things that Smith especially took to heart are the heaviness of the bass, which he and Kowald jointly express both through a tangle of low-end plucking and some shared moments of Tuvan-inspired throat singing, and the necessity to be as present as possible. The latter manifests in the way both musicians sound like they are completing each other’s ideas. 

Kowald died of a heart attack while staying at William Parker’s home, and the world family of bassists mourned him. Smith was scheduled to take a lesson from Léandre on the day that he passed; days later, they recorded this session in his memory. Each brief piece centered around a particular mode of interaction. On “Ancestor & The Future,” Smith’s pizzicato frames Léandre’s bowing like twin signifiers of tragedy; skip to “Lost & Lucid,” and they scrabble at their instrument’s bodies like they’re both trying to roll back a tombstone that will not be budged. But despite the shared sense of loss, their interactions do not stay in a state of mourning. On “Listening To The Same Blood,” their contrasting approaches amount to a celebration of their shared mission to make music in the moment out of shared sensibilities. The genesis of this recording made it difficult for either party to stay with it long enough to make a record out of it, so it was not released prior to 2021. 

Smith was a student and associate of Turetzky’s for some time before they recorded Thoughtbeetle in 2007. Like the Kowald session, is has been previously released, but only as an edition-of-100 CDR. You might already have apprehended that Smith likes to aim upwards. Playing with extraordinary talents brings out his best, and this session feels as closely interactive and open to possibility as the other two. There’s more emphasis on melodic precision and timbral exploration, and Smith rises to that challenge. Turetzky, on the other hand, seems happy to give his own instrument a good thwacking every now and then. Taken in concert, these three CDs represent both a catalog of possibilities and a vigorous challenge for anyone taking on the double bass, and a world of woody, mutable sound for anyone who likes to listen to the instrument. 

Bill Meyer

[musicmakesyousmart]

Joëlle Léandre, Mat Maneri, Christophe Marguet, Joel Ryan - For Flowers

Leo Records

2004

[marcogiovenale]

call for applications: creative improvisation and instant composition

THE WORKSHOP The workshop is addressed to musicians with experience in the field of collective improvisation. The afternoon sessions – led by Alvin Curran, Joëlle Léandre and Eddie Prévost – are devoted to instrumental practice, real-time-composing and deep listening. The goal is to convey the notions, principles and techniques which characterized a phase of great creativity in this area. The…

[orpheusz]

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Giacinto Scelsi en Suisse, 1940 © Fondazione Isabella Scelsi

[diyeipetea]

We Insist Records I. Por Pachi Tapiz. HDO 553 [Podcast]

We Insist Records I. Por Pachi Tapiz. HDO 553 [Podcast]

HDO 553 está dedicado a siete grabaciones publicadas por el sello italiano We Insist! Records. La primera referencia del catálogo Us de Pileline 3 & 5 (WEIN01) se publicó en 2018. Desde entonces se han publicado más de veinte referencias que transitan por distintos caminos musicales. Comenzamos con dos piezas del dúo formado por el violonchelista Luca Tilli y el veterano trombonista Sebi…

[merzbow-derek]

POST-SCRIPTUM 957

AGITATION FRITE 3

PLUS QUE QUELQUES JOURS À ATTENDRE

À LA UNE À LA DEUX À LA TROIS !

[zaratoussetrop]

Joëlle Léandre et Pascal Contet

[talweg-wolves]

“Si Talweg – jusque-là Erle (Joëlle Vinciarelli) à la voix et Fels (Eric Lombaert) à la batterie – n’est pas au bout de ce « chemin » emprunté en 2010 au son de Substance Mort, c’est qu’à force de sillonner (c’est ici leur second vinyle), il a fini par le changer en paysage. Dans ce paysage, le duo s’est enfoncé ; sous ses pas – c’est à dire : par sa faute –, le chemin s’est encore assombri. Aux râles d’hier, Erle opposera d’autres râles, mais pas seulement. C’est qu’elle et son camarade ont augmenté leur instrumentarium d’une vielle, d’une trompette, de synthétiseurs et de la flûte d’Arnaud Marguet. Alors, avec force, ils agitent d’autres mythologies – c’est, par exemple, un (une ?) Léandre qu’on y trouve, un archet planté dans la gorge – en un noir diptyque exposé à la verticale prêt à avaler crissements, déviations, grippages… Certes, la batterie et les cornes prendront garde à ne pas effaroucher l’enfant qui calme son angoisse au son d’une comptine, un piano à pouces l’amadouera même, mais un temps seulement. En seconde face, ce sont chez Erle d’autres respirations avant de nouvelles incantations : on ne saurait dire combien de voix s’élèvent sur combien de roulements, ni à quelles hauteurs les premières façons de Talweg (voix contre batterie) évoluent désormais.” Guillaume Belhomme, le son du grisli

[chez-mimich]

Joëlle Léandre. Novara Jazz 2024