Megapolis festival, New York

21 04 2013

graphic ships to sonic shores

with jesse ricke (guitar), scott wollschleger (guitar), and mike (guitar)
online musicians:
andré D (bass), frank wilke (trumpet, trombone) and hervé perez (laptop, soprano sax)

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live improvisation at the megapolis festival, new york, 20 april 2013

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hear an extract of the performance here

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the performance took place in the CultureHub studio in New York with some performers present in the space. others were performing from Germany, France and the UK. the audience presence in the studio triggered graphics (generated by lisa lee using a live video feed and max-msp) which were projected and served as graphic score for the music.

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graphic score triggered by audience
graphic score
graphic score with musician
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Long distance rehearsal for the Megapolis festival here

This live session was produced with a call conference software named “Scopia”.

Jesse Ricke – guitar,effects (live from U.S.A)
Hervé Perez – electronics, sax, shakuhachi (live from U.K)
Frank Wilke – horns (live from Germany)
André D. – bass (w/ebow+objects), archo eub (live from France)

recorded March 17th, 2013.

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the project

Graphic Ships to Sonic Shores – Jesse Ricke + Lisa Lee
A creative means for a mediated journey, built from interactions between audience and performer, to achieve a synchronous audio expedition via an interactive visual vehicle. Artists will perform from locations throughout the Western hemisphere for an audience at CultureHub in New York, improvising off an ever changing graphic score generated by the presence of audience members. The audience will be free to move about the venue, their positions and movements interpreted as phrases for the score displayed as a 245 square foot projection. Artists will include André D. of France, Hervé Perez of the UK, Frank Wilke of Germany.

Jesse Ricke is a media practitioner working in video, audio, and music, with an expertise in venue operation and event documentation. His political and social interests have lead him to internships with One Laptop Per Child in Peru, working with children in developing areas, The Groundswell Collective in the US, and his current position as technician for the new media non-profit studio CultureHub. His musical experience includes jazz studies at Florida International University and work in signed and independent groups.

Lisa Lee is an interaction designer and multimedia artist. Lisa had been working as a web designer with International Community Radio Taipei (ICRT) and with the digital advertising agencies Kehch Creative Inc. and Bremen Digital Creative on campaigns for BMW, MINI, Benz, Nike, Levi’s, M&M’s, Dove, and others. She holds a BFA in Commercial Design from Chun Yuan Christian University in Taiwan and received her MFA in Design and Technology at Parsons The New School for Design in 2012. She currently lives in Brooklyn, New York.





kipple live at mopomoso

24 02 2013

kipple is the unique free jazz sextet i play with. the unusual instrumentation features two strong electronics section alongside guitar to provide both harmonic, textural and noise dimensions to the music. and as well as drums, we have two other acoustic players on trumpet and soprano sax.

we play with a surprising range of dynamics from full on free jazz to minimal noise improv and out of nowhere, a slow melody may appear and take you to ballad cloud-land… to then slap you straight back to contemporary weirdness and dissonant multiphonia…

it’s a rollercoaster of a journey and it won’t leave you any minute to catch your breath.

of course, music is best experienced live… but john russell at mopomoso is kindly documenting all his events, so here are some cool videos from london’s vortex.

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Ian Simpson (electronics), Derek Saw (trumpet/flugelhorn), Shaun Blezard (electronics), Hervé Perez (soprano saxophone), John Jasnoch (guitars) & Charlie Collins (drums/percussion) at Mopomoso free improvisation night. Filmed by Kostas Chondros at the Vortex, London, on 17 February 2013.

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Kipple is a word coined by the remarkable science fiction writer Philip K. Dick. It refers to the sinister type of rubbish which simply builds up without any human intervention. Eventually, one day, the entire world will have moved to a state of kipplization

From Phil Dick’s “Do Androids Dream of Electric Sheep?”

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Kipple combines the momentum of ESP era free jazz with a 2 man low fi electronics section in place of the piano. The rhythm section is that used by Sonny Simmons on his UK gigs. The free blowing trumpet/soprano sax front line manages to be intense and relaxed at the same time.

(Phil Morton, Frakture, 2011)

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shaun has posted more documentation of this group live on his blog:

http://shaunblezard.net/sound-work/musician/kipple/

which includes this video

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as well as audio recordings…

1.1

Download @ The Internet Archive :: Direct Download :: Listen @ The Internet Archive

Released by Electronic Musik

1.2

Download @ The Internet Archive :: Direct Download :: Listen @ The Internet Archive

Released by Electronic Musik





album Behind the Hill published with Nowaki

31 01 2013

Behind the hill…

“Behind the hill…”  is originally an impromptu series recorded by Christophe Meulien and André D. At their request, this improvised music session received the contribution of Hervé Perez. It’s this trio version we propose to you here, enjoy!

1. The lonely Mansion’s story
2. Behind the hill
3. The waiting room
4. Monday morning
5. Train for Newtown

Hervé Perez – soprano saxophone
Christophe Meulien – piano, samples
André D. – bass, objects

Recorded at Cuers (France) and Sheffield (U.K). December, 2012.

listen to & download this album from Nowaki netlabel.





winter warmer

11 12 2012

if some of you wondered where i disappeared, i have spent some time in a buddhist centre catching up with meditation and volunteering…

under the guidance of master thangka painter lama rigzin, we decorated the new shrine room of the kagyu samye dzong buddhist centre. this has been a very interesting and fruitful experience for me, meeting and living in a community of amazing and creative people.

many thanks to lama zangmo, namjal and ani for the warm welcome and to all at the centre for all the amazing experiences.
and many thanks to justin, enikö, lydia, mimi, sabrina, alan, holy for the lessons in kindness and compassion, the shared moments, conversations and wonderful food…

amongst the intensive paint work, the many hours of sitting in a beautiful meditation room and socialising with residents, i have managed to find some time for musical experiences, to my great surprise, as i thought i was in for a very quiet retreat…

first i was delighted to find a lama’s fascination with chanting or even singing along with my saxophone. i also played with the amazing flute player lydia polzer. and finally, i was really struck to find an old and nearly forgotten love. after six years dedicated to my new instrument, and while trying to rapidly build up my saxophone technique, i have pretty much abandoned playing the guitar.

wonderful guitar repairer and maker john wilshire amazed me with such kindness and allowed me to borrow and play one of his creations. on hearing the beautiful sound of his guitar, i immediately fell for it and recorded a piece. my playing is very rusty after six years of silence, but this guitar is so incredibly delightful that i could not resist it and just enjoyed the sound… thank you john for this experience.

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cherry on winter icing

recorded in a yoga room of the KSDL centre

london

acoustic guitar, 02 december 2012

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sounding out in france 2012

23 10 2012

for the first time in years, i returned to france. the visit was short and i had to cram many things in. music, of course, was one of them. i met with friends and reconnected with some of the projects i had in the past. i even managed to play live as my friend heddy very kindly invited me to perform a solo at his venue la maison peinte. this was my first solo (on wind instruments) and first time i played the shakuhachi in public.

another part of this trip was to travel with a friend to the mountains and replenish with the pyrenées’ powerful energy and fresh air. walks in the hills, meditation on powerful peaks, near cascades and mountain chapels were all on the menu. and i had quite a feast.

this was also an opportunity to find new locations to record. i came across some real gems, often found by chance.

after hours of travel, the day was drawing to an end. it was time for meditation and a storm was brewing. the road winding up the mountain finally led to an isolated village. and just in time, i found a delightful little church to take shelter. i played a few pieces there, inspired by the rich atmosphere, the subtle and gentle feel of the place and a backdrop of storm, cows and birds that populated the area.

some other places i already knew, but it was a great pleasure to revisit the aude country.
after a swim in the cold river at the bottom of the canyon, i had a special moment in the chapel built in st antoine’s cave. the hermitage de galamus is charged with the wisdom of monks who lived there before the cave was turned into a chapel.
although it is considered a tourist attraction, the place has kept a genuine feel and it is a pleasure to visit and spend time there.
many thanks to the attendant who was very keen to chat about the place and tell some interesting stories. and mostly, as he was interested in my project after seeing i was carrying a large saxophone case on my back… he very kindly invited me to play in the cave. i did not even need to ask. and it was a real treat.

closer to home, there are two churches that i knew and yet had never played in. these turned out to be quite a surprise. in st sardos village, the church is dark and cold. it seems very uninviting at first but the massive building has a very special reverb. it is quite overwhelming and very coloured. once tamed, the sound is just grand.

on the way to play a solo gig near toulouse, i stopped in verdun sur garonne. i knew this place from before. although the town is not very big, the church is very impressive, with gorgeous paintings, statues and a deep blue saturated colour covering the whole place. this is the place of st michael whose sword cuts the ties of ignorance. a large statue in a corner of the church inspires awe (see picture). it is with utmost reverence that i started to play a very pared down and soulful improvisation… and what turns out to be a favourite, very inspired, deep and infused piece.

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sur le chemin du retour

abbatiale de vigeois

limousin

soprano saxophone, 11 june 2012

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tous ces non dits

église de verdun

tarn et garonne

soprano saxophone, 08 june 2012

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sabre vérité

église de verdun

tarn et garonne

soprano saxophone, 08 june 2012

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paysage inconnu

église de st sardos

tarn et garonne

soprano saxophone improvisation, 07 june 2012

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paysage retrouvé

église de st sardos

tarn et garonne

soprano saxophone improvisation, 07 june 2012

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paysage lointain

église de st sardos

tarn et garonne

1.95 shakuhachi, 06 june 2012

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a candle for st antoine

hermitage de galamus

pays de l’aude

1.95 shakuhachi improvisation, 01 june 2012

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a gentle light in the water

hermitage de galamus

pays de l’aude

soprano saxophone improvisation, 01 june 2012

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the coucou song

hermitage de galamus

pays de l’aude

soprano saxophone improvisation, 01 june 2012

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sortie de classe

chapelle ste marie de belloc

dorres, pyrénées

soprano saxophone improvisation, 29 may 2012

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silence en montagne

chapelle ste marie de belloc

dorres, pyrénées

soprano saxophone improvisation, 29 may 2012

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en attendant l’orage

église d’arquizat

ariège

soprano saxophone improvisation, 25 may 2012

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recherche d’un abri

église d’arquizat

ariège

soprano saxophone improvisation, 25 may 2012

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pour la fermeture

église de st girons

ariège

1.95 shakuhachi improvisation, 25 may 2012

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entre deux

église de bruniquel

tarn et garonne

1.95 shakuhachi improvisation, 18 may 2012

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of power and control

26 08 2012

Mental Purification and Healing

Part I: HEALTH

vii

Most of the cases of physical and mental illness come from exhaustion of the nerves. Not everybody knows to what extent to use nerve force in everyday life and to what extent to control it. Very often a good person, a kind, loving, affectionate person, gives out his energy at every call from every side, and so, continually giving energy, in the end finds his nerves troubled and weakened. In the end the same person who was once kind and nice and polite cannot keep this up, because when the funds of energy have expired, then there is no control, there is no power of endurance, there is no patience to take things easily. Then the person who once proved to be good and kind becomes irritable and troubled, and tired and disgusted with things. Very often it may be called abuse of goodness; for it is not always giving out that answers the demands of everyday life; it is the balanced condition of one’s body and mind which answers the demands of life satisfactorily. And sometimes it becomes a passion with a person to waste his energy either in doing something or in speaking continually; and this passion can grow to such an extent that even when that person has lost a great deal of his energy, he will still find satisfaction in giving out even more. In the presence of that person others will feel depleted, because he has no energy left, he is trying to give out what little he has, and the irritation and strain fall upon the others; it makes them nervous also.

Weakness of nerves is not only the cause of physical diseases, but it leads to insanity. There is one principal cause of physical diseases as well as of mental diseases: overstrained nerves, exhausted nerves; and that person whose nerves are exhausted, in spite of all virtue and goodness, goodwill and desire to do right, will prove to be doing wrong, to his own surprise, because he has lost self-discipline. His high ideals are of no use to him, for he has not got himself in hand. His qualifications, his knowledge, his attitude, his morals will all prove to be futile in the absence of that nervous force which keeps man fit and capable of doing all that it is proper for him to do in the world.

Lack of soberness also causes nervous exhaustion. Therefore all alcoholic and intoxicating things consume the energy of the nerves, eat the energy of the nerves. One might ask why a person takes delight in such things, and again the answer is that it is a passion; that anything that produces intoxication for the moment, that excites the nerves, makes one feel, so to speak, more cheerful for that moment. But one depends upon something outside, and the reaction comes when the effect of that intoxicant has worn off. Then one feels twice as weak and exhausted as before, and needs twice the amount of drug or alcohol in order to make one feel, for a few hours, as cheerful as one did. And so one goes on and on until one has no power over mind and body but becomes a slave to something one takes. That is the only time that such a person thinks he lives; at all other times he feels miserable. That becomes his world, his heaven, his paradise, and his life. All manner of excess in passion and anger, all manner of sensual life and rejoicing in it robs one of the energy, the power and vitality of the nerves.

Besides, every effect that is created in voice, in word, in singing, is created by the nervous power; the whole secret of magnetism is in the nerves. The whole secret of success of a public man, a public person on the stage or in the concert-hall is his nervous power, the success of the lawyer, of the barrister in the court is his nervous power. It will always be found that a good barrister who has made a name has that power, and it is magnetism. Therefore the sign of a person with health, both physical and mental, is that he develops that influence which is expressed by nervous power, and it has its influence upon all things.

Strength gives one more power, weakness causes a greater weakness. The proper condition of the nerves enables one to impress. A person nervously depleted, even if he be in the right, cannot impress it upon another, because there is no strength behind it. And so even if he is in the right, he will be at a loss what to do. There is no power to go forward, to stand up for his own right.

The system that we know today of keeping patients shut up in hospitals, in asylums, is just like making them captives to the disease. The atmosphere of the place and the very thought of being in the hospital make them feel ill; And so it is with the life in asylums. However efficient the treatment may be, it gives a person the impression that he is out of his mind, there is something wrong with his mind; and the whole atmosphere suggests the same thing. Besides, it would be kinder on the part of society and of the family, if the patients could be taken in hand by friends or relations in their difficult times. They could be helped better than by putting them in places where they can think of nothing but their illness. I have myself seen many cases whom relations or friends have looked after, and they have been helped much more than by what they would have received in a hospital.

One might say that medical treatments require a special place for such things, and that there they have everything besides the physician to look after them, and that is the only way in large cities that such cases can be looked after. Yes, it is true, and one cannot help it where the situation is difficult; still, where it can be helped one should try to help.

Nervous diseases are very often treated by giving medicines. There is no medicine in the world, which can do good to nerves; for nerves are the most natural part of one’s being. They are the part of one’s being which is linked with the physical world and with the mental world, it is the central part of one’s being; and there is no better remedy for nerves than nature, a life of rest and repose, quiet, proper breathing, proper nourishment, and someone to treat the patient with wisdom. By understanding the law of environment and climatic influences, by understanding what influences people have upon such a patient, one can cure him.

Nervous energy is a kind of battery for the whole mechanism of the mind and body. For the mechanism of mind, therefore, it is the clearness of the nervous mechanism and the good working of the nervous mechanism which enable us to make our thought clear to ourselves, or to hold our thought, or to imagine, or to think, or to memorize; and when the nervous system is not clear, then one cannot keep things in mind, conceive things in the mind, or keep to one thought, and various conditions of mental disorder begin to show. Within the body the nervous system is called centers by Yogis. The different centers are the points of the nervous system, the centers through which one experiences intuition, one feels, one observes keenly.

And now the question is where to get nervous energy, and how to get it. Our body and mind are a battery of that power, they are made of it, we are that power. The magnetism of a human being is much greater than anything else in the world. No jewel, no gem, no flower, no fruit, nothing in the world has such magic as a human being has if he knows how to retain it, how to keep himself in that condition. Because with all the scientific discoveries of radium and electrons and all the different atoms, there is no atom in the world which is more radiant than the atoms with which the human body is composed, atoms which are not only attractive to the human eye, but attract the whole of creation towards the human being. The horse serves man, the camel carries his load, the tiger surrenders to man, the elephants walk by his command. But when he loses his proper spirit, then it is just like losing salt; as it is said in the Bible, ‘Ye are the salt of the earth, and when the salt hath lost its savor, wherewith shall it be salted?’ When man’s own body, his own spirit, are more radiant than anything else, then there is nothing else that can give him more spirit. He himself is the spirit.

From:

Hazrat Inayat Khan.

“Mental Purification and Healing”. Delhi : 1988, Motilal Banarsidass





sounding out in the uk 2012

26 08 2012

with the new year, this project is picking up intensity. some old favourites i keep revisiting, but also many new locations. going further afield and searching for new types of places:

derelict halls and remnants of the decaying bourgeoisie, arty places, urban explorers heaven, caves and quarries. i was even heard battling it with a fog horn – and a distinct echo from the thick mist. and of course, sneaking in the odd cathedral just can’t be missed.

these recordings take on new dimensions as i develop further a relation to the spaces i explore both physically and sonically.

i hope you enjoy this new season of recordings. more very soon, this time in a different country… i have been working on my latest escapades and there are many exciting tracks to come. so keep your eyes peeled and your ears to the ground

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dressing the table of offerings

ilam church

derbyshire

1.95 shakuhachi, 15 april 2012

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meditation for cs

james turrel installation, deer park

yorkshire sculpture park

1.95 shakuhachi, 28 march 2012

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les alouettes

ilam church

derbyshire

soprano saxophone, 24 march 2012

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a battle of horns one cannot win

portland lighthouse

dorset

soprano saxophone, 15 march 2012

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fog country

fontmell magna church

dorset

soprano saxophone, 14 march 2012

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rocks and sea breeze

winspit caves

dorset

soprano saxophone, 14 march 2012

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mirrors

over haddon church

peak district

soprano saxophone, 21 february 2012

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chasing lines in the water

over haddon church

peak district

soprano saxophone, 21 february 2012

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what the wind brings

little longstone church

derbyshire

1.95 shakuhachi, 13 february 2012

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a headless woman

sutton scarsdale hall

sutton scarsdale

soprano saxophone, 12 february 2012

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a spark amidst the darkness

citadel of hope

sheffield

soprano saxophone, 07 february 2012

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within the walls

citadel of hope

sheffield

soprano saxophone, 07 february 2012

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chapter house

lincoln cathedral

peak district

1.95 shakuhachi, 01 february 2012

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