Music of the Heart

23 09 2014

I always tell musicians, whenever you perform for a large body of people, you must hear the real grand fundamental tone that comes from the people. You have to arrive there and go into a nice little area where you plant yourself and you try to hear that big sound, that harmony that everybody’s making- the way they’re talking, the laughter. I get the fundamental tone of all of that. Once you get that tone, all the things are going to fall into place because all of the people are just the harmonics.
[...]

What I do is I try to internalize that sound, and say ‘what does that feel like to me.’ If I feel it’s a positive sound, then I say ‘this thing could take me someplace else.’ I can give them a much greater whatever-they-need if I do this or I do that. If I feel hurt from there, what I do is change that around. The thing is this- somebody would say ‘everybody’s not going to respond to this.’ But if you can get a large segment of people in there just to be thinking very positive, then the person next to them is going to feel that! You try to get harmony in there. People always want to be in a surrounding where they feel people are positive. If you people are smiling, feeling great comfort, not intimidated, they can relax and feel no stress. So everybody helps each other out.

But you as an artist… What I’m talking about is an artist has to be really together. Spirit-wise, body-wise, mind-wise. You have to be in the best condition that you can be in. Or else you’re no good to anybody. It’s like a medical doctor telling you ‘I can take care of your cold’ and he’s sneezing and coughing all over the place.

 

Milford Graves

 

from

http://www.furious.com/perfect/milfordgraves.html

see also

http://www.npr.org/templates/story/story.php?storyId=4510912

 





Inclusion Principle EPK

16 09 2014

header2

Inclusion Principle

Martin Archer – laptop, woodwind

Hervé Perez – laptop, woodwind

with guest Peter Fairclough – drums

contact:

hervé – sndsukinspook@live.com

martin – mw.archer@btopenworld.com

Discus
Box 658
Sheffield S10 3YR
UK

 

 

Inclusion Principle was formed in 2006, released its first eponymous CD that year, and follows up with a second release ‘The Leaf Factory Fallback’ in March 2010. Subsequent releases include documents of performances: Inclusion Principle – Live at Showroom (2012) and Inclusion Principle – Live at Showroom (2013).

Both members play a similar set up of laptop and woodwinds and yet have a different approach to their instruments. Put together, there is a chemistry that inspire and drive their improvisations towards a wide range of soundscapes. The choice of instruments and sounds on their palette allows them to dramatically change their music between beat driven electro, minimal and microtonal improvisation via electroacoustic experimentation and nu-jazz. There is something for all in their music and, first and foremost, an enjoyment of sound and performance, which carries across and touch their audience, whatever the style they may adopt.

We decided to base the name on a theory of the research physicist Wolfgang Pauli. We found a correlation in that we both worked with a digital scalpel on fields of microsounds; a science which took both our instruments and processed field recordings a little closer to the chemistry of natural sounds, complete with harmonic DNA sequences and rhythmical fragments quantum-jumping from cell to cell. We were intrigued by the idea of the ‘exclusion principle’ and decided that Pauli was ‘not even wrong’ in his theory since Martin and Hervé successfully managed to sit together in the same room. In the end, our main source of inspiration will always be deep listening and a fascination for the science of the natural world. Sometimes, sitting in silence for hours in the crest of birdsongs or in wafts of windy harmony is more profitable than practicing scales. And to a certain extent, each of our improvised performances plays itself as an unspoken intense inner excitement. And we leave it to rest, a little calmer, as if something had happened in the space between thoughts…

Inclusion Principle are currently working on a third release with collaborator and jazz drummer Peter Fairclough.

 

 

live document of the trio performing:

showroom sheffield 06 apr 2013

tramlines sheffield 20 july 2013

safehouse brighton 28 may 2014

 

 

 

label home:

inclusion principle released by discus

 

 

reviews:

“What you are hearing are the results of initial meeting between the two. First hour, first day. Improvised. Minimal, detailed, immaculately recorded.

Not so much a sound installation as a room in which you finally get to hear the sound that were already there, but the very elements are broken down to their basic particles forming into glitch electrics where electrons reveal themselves from within the whole.

There’s something of the alchemical about it as nature’s music forms these things.

It’s a productive and worthwhile collaboration between two heavily experienced instrumentalists with an impressive sense of awareness.”

Hassni Malik, Irrational Arts

 

“I have not heard a better album from Martin Archer yet.”

Petr Ferenc, hisVOICE

 

“The sense of considered, focused interplay between the participants is undeniable. An hour or so of abstract noise passes imperceptibly, then, suddenly, everything feels shockingly different.”

Stuart Lee, Sunday Times

 

“A CD of intricate moments, steering away quite nicely from many of the clichés associated with the vague beast that is the improv genre. Both (players) do indeed seem to be on an extended nature trip, albeit a microscopic one…..It’s an album of abstract micro-events, none of which help pin the improvisation down, and it feels at times that we’re moving along with the musicians on a cellular level of sound…..What I hear is the deep thinking of stones and the beating hearts of young trees, the dying wishes of leaves falling to the ground and the absurdist symphony of a gently running stream…..Guaranteed to make even the most hardened sceptics want to smell new spring flowers and run naked through the fields.”

Aaron Robertson, Sound Projector

 

“The sound-construction/deconstruction works to a truly great effect here.”

Chuck Rosenberg, Aural Innovations #43

 

“This electroacoustic set retains the spontaneous qualities of a live recording, mashing up abstract textures, field recordings and extended techniques.”

Jazzwise

 

 

biography:

 

martin archer

Following an early career with 1980s jazz punk pell mellers Bass Tone Trap, followed by the fondly remembered and widely gigged Hornweb Sax Quartet, Martin disappeared into the recording studio for 15 years in 1994, from where he produced a series of highly acclaimed albums for his own Discus imprint. In recent years, as well as forging a three album creative partnership with veteran vocalist Julie Tippetts, Martin currently works with avant rock groups Orchestra of the Upper Atmosphere and Combat Astronomy, 35 voice experimental music choir Juxtavoices, minimalist improv to nu-jazz laptop duo Inclusion Principle, and most recently Engine Room Favourites, in which Martin revisits his AACM roots.

 

hervé perez

Sound artist/composer from France, now based in Sheffield, UK.

He works across genres, drawing from many influences in jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.

Hervé’s research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.

His use of field recordings and sound design is concerned with frequencies and harmonic relationships found in nature, how they relate to the physical world, and how the sounds of natural elements connect to our own resonances.

He has developed a very personal way to process and sculpt location recordings to reveal their musical features and maximise resonance with the listener and their experience of sound.

 

peter fairclough

Drummer/Song-writer/Educator

1995 Peter Whittingham Award winner, Peter Fairclough, has played and/or recorded with Keith Tippett, Mike Westbrook, Ute Lemper, John Harle, The Bournemouth Sinfonietta, The Matrix Ensemble, Peter King, Martin Archer, Rod Hull & Emu and many others.

He has toured, mostly in continental Europe, and performed at many International Jazz Festivals. Peter has also recorded on several major labels including Decca and CBS.

He has 5 CD releases of his own; Shepherd Wheel (ASC CD1), Wild Silk (ASC CD8 with Keith Tippett), Permission (ASC CD18), Imago (JazzPrint JPVP132CD also with Keith Tippett) and Momentarily (pfcd0901 with Hayley Youell, Fred T Baker & Dave Bainbridge).

Peter teaches drums at Liverpool Institute for Performing Arts, Leeds College of Music and Barnsley College.

 

 

technical details:

 

IP usually travels completely self contained including small venue monitor system. Your house PA however may enable us to travel lightly, which is preferred. Two tables are required for laptops and associated electronics. Atmospheric lighting is appreciated.

drums – 2/3 mikes + stands

martin – stereo out from laptop/DI box + mike + stand for woodwinds

hervé – stereo out from laptop + mike + stand for woodwinds

PA with speaker arrangement for true stereo output

 

 

 published recordings:

 

 

Inclusion Principle – Live at Showroom 06 04 13
Discus 45DL
(2013)

 

Inclusion Principle – Live at Showroom 22 09 12
Discus 42DL
(2012)

 

The Leaf Factory Fallback
Discus 38CD
(2010)

 

The inclusion principle
Discus 29CD
(2006)

 

 

links:

 

http://www.discus-music.co.uk/discatherve.htm

 

martin archer / discus

 

hervé perez

 

peter fairclough

 

 

find a full EPK with links and audio:

http://www.discus-music.co.uk/InclusionPrincipleEPK.htm





Mirror Shards EPK

15 09 2014

MirrorShardsHead

mirror shards:

joe formanek – drums, laptop
hervé perez – alto saxophone

contact:

sndsukinspook @ live.com
0044(0)114 2683719
info @ latermusic.com

 

Mirror Shards is the project of Joe Formanek, multi-tasking on drums, live processing, electroacoustic techniques and DJing to perform a fluent orchestration of improvisation and composition.

Hervé Perez features on alto saxophone bringing a highly individualised style of jazz melody, extended techniques and contemporary harmonic rhythms in a single honed voice.

The group balances the use of technology and interfaces into the exciting movements of live spontaneous composition. The two strong voices of multidisciplinary artists and powerful improvisers performing with laptops keep alive the performative aspect of playing acoustic instruments.

Drawing from both traditional and non-traditional backgrounds, and a long experience of both composition and performance, Mirror Shards is an exciting reflection of new directions in jazz.

 

 

 

 

 

 

Mirror Shards started with Hawaiian composer / improviser Joe Formanek’s creation of two unique innovations: What he calls “Percussionist 2.0” and improvising with history using a database.  Percussionist 2.0 was the result of an attempt to create an instrument in which a percussionist could fluently express himself acoustically and digitally via DSP.  However, while doing the acoustic input and the digital output is usually done by two as common practice, the Mirror Shards apparatus is an attempt to do both actions simultaneously.  This new instrument proved to be more than just an instrument but a new way to play percussion. It now seems like the natural step in the evolution of percussion, as doing these functions at the same time -instrumental and digital manipulation – feels percussive.  After several layered improvisations a database of recordings came about, and within it an organized recorded history of all the improvisations which have been all based on older improvisations.  With it a sense of time, mood, and a progression of wisdom seem to all mix and blend with each new play, resulting in a constantly improving richness of the myriad of the Self.

 

Biography:

 

joe-profile-01Joe Formanek

 

Improviser and composer, Joe Formanek employs an electro-acoustic apparatus, Mirror Shards, which is at once a drumset-laptop using digital signal processing and a history-database DJ station.

A large collection of recorded material are at a fingers touch during a performance. Central to the concept of Mirror Shards is a layering of samples and digital processing which confront the live sound with past events.

The experience of “driving” the apparatus is a surreal encounter with one’s previous stages of artistic development, forcing a critical reflection and interaction with one’s past.

Joe Formanek has been involved with Francisco Lopez (composer), Chris Formanek (composer), François Ducat (film director), Kouta (composer), and Hervé Perez (sax, composer).

 

 

 

Hervé Perez

herveperezSop

sound artist/composer/performer from France, now based in Sheffield, UK.

Hervé has been composing music and performing live around europe for 20 years. Playing solo and in various groups, he draws from jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.

His research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.

On the soprano saxophone, Hervé focuses on extended techniques and abstract peripheral sounds structural to the instrument as a physical resonant object. His work on alto merges traditional and jazz harmonic approaches with extended techniques and multiphonics.

Sounding out, one of his current projects, is an exploration of architecture, outdoor acoustics and sacred sites. Documents of in situ improvisations, inspired by the spirit and the special characteristics of a location.

With a focus on collaboration and interaction, Hervé has performed with artists whose practice is immersed in free improvisation, closely working with Mick Beck (sax, bassoon), Martin Archer (winds, el.), Philip Thomas (piano), Jez Riley-French (el.), Ian Simpson (el.), Charlie Collins (drums), Constantin Popp (live processing, diffusion), etc. in the UK and also Michel Doneda (sop sax), Jonas Kocher (accordion), Simon Berz (dr, el.), Rodolphe Loubatiere (dr), d’Incise (el, objects), Cyril Bondi (dr), Heddy Boubaker (sax), Cia Barbet (dance), Joe Formanek (dr, el) in Europe.

 

 

current projects:
sounding out – explorations of outdoor acoustics, sacred sites with the soprano saxophone, investigating the nature of space and architecture, natural topography.
room harmonics – experimental recording technique using sound to represent architecture and spatial relationships
”The quartet”, contemporary jazz improvisation
“inclusion principle”, duo with martin archer (discus label) – electroacoustic improvisations with laptops, winds, objects
“Mirror Shards” EAi to melodic jazz with Joe Formanek (drums and live processing)
“weave/unravel”, duo with constantin popp – soprano sax, processing, multi-speaker diffusion
“WHM” minimal improv/free jazz trio.
“kipple”, free jazz/improv sextet
“Ethernet Orchestra” networked improvisations by Roger Mills
“Graphic Ships” generative graphic score for networked improvisations by Jesse Ricke

 

 

technical details / requirements:

drums – 2/3 mikes+stands
electronics – 2 channels stereo out
sax – 1/2 mikes+stands
optional: feed from saxophone into electronic setup via 1/4 inch jack

 

booking contact:

sndsukinspook@live.com
info@latermusic.com
jjformanek@gmail.com

 

 

further links:

 

joe

 

http://latermusic.com/

.

.

 

hervé

 

main website:
http://www.spacers.lowtech.org/herve

electroacoustic music:

acoustic sax:

further documentation of collaborative work:

other site with audio, visual and text work:

http://sndsukinspook.wordpress.com

 

 





sounding out the south of england

3 09 2014

with blessings from a blazing summer, sounding out is heading south. this series takes in tors and turbulent skies, the cut out coast of devon, gentle hills and country lanes of dorset in search for formidable locations

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guides for brides

st mary the virgin, compton abbas,

dorset

alto saxophone, 08 july 2014

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behind the gate

st mary the virgin, tarrant crowford,
dorset
alto saxophone, 08 july 2014

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the faded cross

st mary the virgin, tarrant crowford,
dorset
alto saxophone, 08 july 2014

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end of the road

st andrews church, winterborne tomson,

dorset

alto saxophone, 08 july 2014

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all beings are winter bourne

st andrews church, winterborne tomson,

dorset

alto saxophone, 08 july 2014

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change of scene

st catherine chapel,

dorset

alto saxophone, 07 july 2014

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shadowplay

st catherine chapel,

dorset

alto saxophone, 07 july 2014

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full of empty space

st catherine chapel,

dorset

alto saxophone, 07 july 2014

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shimmers

st catherine chapel,

dorset

alto saxophone, 07 july 2014

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the long walk

ilfracombe parish church,

devon

alto saxophone, 07 july 2014

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opening

ilfracombe parish church,

devon

alto saxophone, 07 july 2014

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verity

ilfracombe parish church,

devon

alto saxophone, 07 july 2014
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clearly oscuro

partridge, widmouth farm

devon

alto saxophone, 06 july 2014

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coast lines

berrynarbor church,

devon

alto saxophone, 05 july 2014

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outer stone

berrynarbor church,

devon

alto saxophone, 05 july 2014

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mystic moors

brentor church,

devon

alto saxophone, 30 june 2014

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first impression

torbryan church,

devon

alto saxophone, 29 june 2014

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tormented tor

torbryan church,

devon

alto saxophone, 29 june 2014

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in between

torbryan church,

devon

alto saxophone, 29 june 2014

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collaboration with joe formanek

22 08 2014

i have been working with drummer extraordinaire joe formanek for a while. the collaboration started as file sharing when joe sent me a series of sketches for which i recorded saxophone and did some processing. joe then reworked the compositions and arrangements and did a series of really cool tracks.

you can hear some examples here:

 

 

more recently, we met in person and recorded extensively over a week. we have a lot of material to work through and we are very excited by the results. meeting was very constructive and playing was easy from the start. joe is a great drummer and improviser and we just seemed to be on the same wavelength. sure enough, some of this work will surface on the net soon.

to finish beautifully this period of creation, we paid a visit to the elm collective down in bristol. we had a few recording sessions there and played a concert organised by ‘uberphonic presents’.

luckily, james (from elm records) very kindly filmed sections of our duo with joe. and with the camera joe had set up, we ended up with a good documentation of the event. so here are some edits from the duo. the sound is a bit rough, but you’ll get a pretty good idea of how it went down…

enjoy joe’s project ‘mirror shards’ with hervé perez on alto sax and joe formanek on drumset and live processing.

 

part 1

joe formanek and hervé perez live – mirror shards pt1 from hervé perez on Vimeo.

 

part 2

joe formanek and hervé perez live – mirror shards pt2 from hervé perez on Vimeo.

Hervé Perez (alto sax) with Joe Formanek (drums, electronics).
Uberphonic Presents this concert series at the Golden Lion, Bristol, 06 august 2014

 

you can hear the whole concert here:

 

Hervé Perez and Joe Formanek: mirror shards by Hervé Perez on Mixcloud

 

thanks to james for the warm welcome and the elm collective for great music and setting up this gig for us.





sound and image

21 08 2014

here are some videos i made to go with saxophone recordings. i wanted to explore natural elements and landscapes, some of the things that inspire my playing and sound design. but in this case, the audio i used is completely acoustic using natural reverb. these are from my series sounding out.

some of the footage is slowed down to achieve a contemplative mood, to the extent that one is unsure whether it is a still or a moving image. on another piece, i layered water footage, experimenting with various combinations, with the idea of echoing the multiphonic techniques of the saxophone – nearly representing a visual interpretation of what sound could look like.

once again, the video pieces were edited separately and then sound (which was recorded previously) added to it. there is no intention to cut images to sound like a music video. the interaction between the two is down to chance and may appear random, if there is such a thing. however, i find such chance ‘encounters’ – moments of convergence and synchronicity – fascinating. but in the end, when bringing water and sound together, both waves, there is little risk. perhaps the mind searches for connections, recognisable patterns. and perhaps the result just happens to work…

 

 

sweet solitude [sounding out ilam church] from hervé perez on Vimeo.

 

setting sun [sounding out ilam church] from hervé perez on Vimeo.

 

wind over bealach [sounding out clachan church] from hervé perez on Vimeo.

 

 





sounding out the peak district 2014

19 08 2014

below is a series of recordings which explore areas of the peak district

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split second

ilam church

derbyshire

alto saxophone, 14 june 2014

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for yibo

ilam church

derbyshire

alto saxophone, 14 june 2014

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yibo and the birds

thor’s cave

peak district

alto saxophone with yibo hu, voice, 14 june 2014

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back to base

st mary’s church, bolsterstone

alto saxophone, 10 may 2014

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tracking shots

st mary’s church, bolsterstone

alto saxophone, 10 may 2014

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study in blue

st martin’s church, stoney middleton

alto saxophone, 03 may 2014

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closing time

st martin’s church, stoney middleton

alto saxophone, 03 may 2014

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wild orchids

st martin’s church, stoney middleton

alto saxophone, 03 may 2014

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rolling hills

pike watts memorial, ilam church

alto saxophone, 29 march 2014

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setting sun

pike watts memorial, ilam church

alto saxophone, 29 march 2014

watch a video

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sweet solitude

pike watts memorial, ilam church

alto saxophone, 29 march 2014

watch a video

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blossoms

pike watts memorial, ilam church

alto saxophone, 29 march 2014
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night train

pike watts memorial, ilam church

alto saxophone, 29 march 2014

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