sounding out the lake district 2014

15 11 2014

rydalcathcave2bcathcave1b

 

In a recent visit to the Lake District, i had amazing experiences in two very special locations. Previously, i explored a number of churches in the region, some of them with very interesting quality, and some very inspiring.

However, i have a preference for natural environments. This project started out in the forest, many years ago, and gradually evolved to include other types of landscapes. Caves have always captured my imagination. There is a quality very different to man made environments. It is not just the acoustics, but mostly the feel of the place. And as a consequence, the music it inspires comes out differently.

i have found in the past that certain churches and chapels surprise me in what music they dictate. Some demand reverence. Some are free flowing. From restrained classical to folk and traditional, all the way to full blown trance-like gospel jazz.

One thing that always strikes me is that in a rural setting, and most churches are fairly remote, urban music seems completely out of place. People commented before on the meters i tend to use. As for me, phrasing that is affected, stylised (like jazz swing) and complex signatures or tempo change simply does not feel right. This is all a modern, urban construct. And obviously, buildings that are hundreds of years old simply do not have that kind of energy.

In the case of natural topography and caves, it is again totally different. All sense of style just goes out of the window.
I end up dealing with pure, raw sound.

Caves always have a strong character and the acoustics are a lot more complex due to the quality of reflecting surfaces, and the much more variable volume and shape of the space. Generally, i would expect a cave to inspire something very raw and wild. But i have been very surprised in the past. For example, i had very unique experiences in Scotland, where the gentle stream that runs across Smoo drew the most fragile and mellow tones. See also my first visit to Smoo Cave.

Rydal and Cathedral Caves are part natural, part quarry. They are both surrounded with majestic scenery and have the raw quality i mentioned earlier. And somehow, once i settled into the sound and started playing, both places inspired the most gentle music. At points on the brink of tears.

It felt like, once i had reached the right level – the right mind state and mindfulness, the right volume of playing that is really quiet and barely sounding notes – something clicked. I knew this was right and somehow things ‘slipped’ into place. It is like an inner feeling of sitting down comfortably.
There are no words to describe it. It really is both like settling down and clicking into place. And suddenly things open up. One becomes full of emptiness and the music happens. The flow intensifies as if it has reached the right channel.
The only way i can describe this feeling is with an oxymoron: the intensity of emptiness. There is infinite strength in stillness. It is the power of gentleness.

In Rydal and Cathedral Cave, the strong sound character and unusually long reverberation allowed me to work with harmony: with low tones sustaining through a phrase or chord. And to my surprise, in spite of inclement weather and raw elements, my playing was gently whispered, on the verge of breaking up, intimate and beautiful.

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another day

cathedral cave, lake district

alto saxophone, 25 oct 2014

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in your steps

cathedral cave, lake district

alto saxophone, 25 oct 2014

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couleurs d’automne

cathedral cave, lake district

alto saxophone, 25 oct 2014

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lozanges

cathedral cave, lake district

alto saxophone, 25 oct 2014

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carefree swaying

cathedral cave, lake district

alto saxophone, 25 oct 2014

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melodic drop

rydal cave, lake district

alto saxophone, 24 oct 2014

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wind ripples

rydal cave, lake district

alto saxophone, 24 oct 2014

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Private Art Exposé

15 11 2014

First event of a new cross-platform collaboration. A unique blend of sound, movement and painting.

The collaboration evolved out of a conversation on deep listening. What attracted me to Ayse’s work is that the focus is not the work itself, the product, but rather the approach and process involved.

The movements are as much dance as they are martial arts forms. And indeed, the mind frame is inevitably one of mindfulness, which for me is central to improvisation.

Similarly, the painting is not so much a desire to create visual art but instead it is merely a mark, a trace left by movements. This really is going back to the root and original purpose of art, starting with the first cave paintings that were just this: leaving a mark.

So, it seems to me that everything is this work is essential. We never discussed any intention. Or aesthetic. Certainly not a desire to produce a commodity. The final work is simply a pure expression of being – in the moment. What is left is a documentation of what happened. The trail of our journey. Traces of our passage.

Private Art Exposé 08 October 2014
Ayşegül Balköse – dance and painting
Hervé Perez – alto saxophone
live improvisation in the old science school, sheffield

Thanks a lot to our hosts and friends…

Private Art Exposé from hervé perez on Vimeo.

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sounding out north yorkshire 2014

30 10 2014

a new set of churches in north yorkshire. three different types of architecture. three moods. and it is also the first time i use a saxophone new to me. a yamaha soprano 475 that will prove to sound pretty sweet. and a nice complement to my usual alto explorations.

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the word

st martins, allerton mauleverer,

north yorkshire

alto saxophone, 01 sept 2014

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inverted perspective

st martins, allerton mauleverer,

north yorkshire

alto saxophone, 01 sept 2014

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last of the summer light

st martins, allerton mauleverer,

north yorkshire

alto saxophone, 01 sept 2014

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shades of green

christ the consoler, newby

alto saxophone, 01 sept 2014

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through the thick

christ the consoler, newby

alto saxophone, 01 sept 2014

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growing wings

christ the consoler, newby

soprano saxophone, 01 sept 2014

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third view point

holy trinity, coverham,

alto saxophone, 31 august 2014

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fractal friction

holy trinity, coverham,

alto saxophone, 31 august 2014

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first outing

holy trinity, coverham,

soprano saxophone, 31 august 2014
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nada EPK

3 10 2014

 

contact:

hervé – sndsukinspook@live.com

roger – roger@eartrumpet.org

 

 
the duo live on opposite sides of the world and started working together through the networked music ensemble ethernet orchestra.

over the past 18 months, roger and hervé developed a strong working rapport based on common aesthetic and approach. they have become nada as a realisation of their unique collaboration.

the duo explores an area between jazz and electroacoustic music, taking influences from  scandinavian new jazz, ethnic musics from asia, and acoustic ecology… both rooted in the use of technology and in traditional forms, the music has a deep respect for space and silence.

central to the duo’s improvisations are ideas of deep listening, the japanese concept of Ma and meditations on silence from buddhist traditions which gave rise to the group’s name.

 
the duo will be on tour in Germany in November 2014 and still have some available dates to fill between 22nd – 3rd december.
 

 

audio documents:

 

 
edits from networked improvisations recorded ‘live’ over the internet.
 

 

biography:

 

roger mills

Internationally acclaimed trumpeter, composer and sound artist working in the field of experimental and improvised music and sound.
He is founder of the tele-improvisatory ensemble Ethernet Orchestra who perform to co-located and networked audiences through the Internet.
While he is now based in Sydney, Australia, Roger spent most of the 1990s in the UK recording and performing with Bristol trip hoppers Statik Sound System, and the free jazz ensemble Spaceways.
His methodology focuses on breath and extended techniques with an attention to timbre in slow evolutionary loops and drones.

http://www.eartrumpet.org

 

 

hervé perez

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.

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

 

 

technical details:

 

PA with speaker arrangement for true stereo output

roger –  mike + stand for trumpet / stereo out from effects via 1/4 jacks

hervé – mike + stand for sax / stereo out from laptop via 1/4 jacks / table for laptop and mixer

 

 

 

further links:

 

roger mills

 

hervé perez

 

 

download a pdf version of the EPK

 

 





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/

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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

 

 








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