Sounding Out returns to North Yorkshire

26 02 2017

Traveling to a short retreat in a secluded and wild area in the North of England, i stopped at a wonderful site i had visited before. Christ the Consoler church in Newby is quite a unique space of impressive presence. The architecture is both grand and intimate as it is a commissioned church on private grounds.

The acoustics are similarly subtle and elevating at the same time. The feel of the place and its sonic quality provide a very interesting balance to my playing. The space requires the usual reverence inspired by the religious sites i have explored, and yet, its private, quiet and somehow isolated quality provides a sense of freedom and adventurous exploration.

So on that day, my playing was similarly balanced between the soulful melodic approach that sacred architecture often inspire, but also featured contemporary angular aspects of my recent research which has started to come through in a more marked way. In a recent article, i have presented a series of simple composition ideas that act like a springboard for my explorations in symmetry. I am now starting to witness how this latter approach is blending with a melodic sensitivity.

This is good progress, and hope to see the technique develop into a smoother method for improvising narratives, free from predictable harmonic movements. At least, this is the aim, and i do play in this freeflow way most of the time. But right now, my fingers are particularly focused on trying things out. I just can’t wait for the time the exercises have sunk in (and the new approach to harmony is finally memorised – which takes a looooong time), and i finally can step away from the practice into a proper freedom of narrative development.

 

This is really exciting for me as i am developing a sound i like, with a coherent method, achieving freedom of creativity, all without falling into the pit of predictability, the usual jazz clichés and patterns, or going through the motions of playing changes, as is often heard. So the aim remains the quite lofty method of freely developing coherent melodic and harmonic narratives in improvisation.

And my experience of Newby Church was inspiring enough to trigger this modality of playing. The space was allowing for both contemplative moments and free flowing sections. The reverb was rich yet subtle, grand yet intimate, and in the flux of sound that traveled the spiritual space, i could place both fast and slow, single pointed melody and harmonic play, abstract and structured approaches. A well balanced session, and a very liberating experience.

So it was only fitting to once again return to the use of water footage i have filmed recently and use the metaphorical association of waves which when combined create complex forms. Obviously, this applies to both sound and water; and the video acts as a metaphor as it puts both together in a random way, forcing the mind to make associations. And of course, synchronous movements inevitably happen.

At times, the video montage looks like sound and inspiration are crashing and flowing across the space, through me and my instrument. This exactly how such experiences feel to me. So the juxtaposition of the video clips live in the performance space with water abstraction works perfectly.

 

By now, and having read the previous presentation, the theme that runs through the titles of this triptych will become quite clear a reference to Foucault’s most inspiring work “Les Mots et les Choses” (transl as the Order of Things), with the added layer of meaning taken from the buddhist understanding that forms are empty and therefore highlighting the irony of obsessive taxonomy of empty forms, projected meaning of the modern technological world. Indeed, attachment to forms lead to suffering or rather unsatisfactoriness (dukkha) in the understanding that there is chaos inherent in all compounded things. This association hints for me at the cultural drift towards decorporated abstract thought, symbolism and the virtual, and the dissociation from the experience of really which starts with Language and a propensity for projection.

Now that i have thrown together Foucault, Saussure, Walter Benjamin, Lacan and Freud all into the same bagful of buddhist teachings, just in the space of one paragraph, let us get literal and on a lighter note. Presenting the light filled Church of Christ the Consoler and musical notes and sounds that it inspired…

 

 

 

 

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as usual you can hear the full audio:

the order of things
alto saxophone, 04 feb 2017
newby church, christ the consoler

 

 

 

 

 

contemplating circles
alto saxophone, 04 feb 2017
newby church, christ the consoler

 

 

 

 

 





Vipassana as taught by The Mahasi Sayadaw of Burma

26 02 2017

Buddhism now

by Bhante Bodhidhamma

Observing the Breath at the Abdomen

Buddha Rupa Cambodia Photo: ©  Janet NovakWe observe the breath, or rather the sensations caused by breathing, in order to bring a moment-to-moment concentration. This calms the heart-mind because it is a neutral object. There are various places where people feel the sensations of breathing more acutely—at the nostrils or upper lip, at the rising and falling of the chest, and in the abdomen. All of these places are valid in terms of vipassana meditation. The Mahasi, however, favoured the abdomen as a place of observation.

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Jazz beats and sax

21 01 2017

lately, i have revisited the idea of working with backing tracks using computer. I find it is a quick way to lay down a few musical ideas.

generally, i am really not keen on using software instruments, and i really dislike spending time on the screen tweaking midi information. i much rather get my hands straight into matter and sculpt into the immediacy of sound. but still,  it is fun to improvise to some groove and it provides a change to abstraction. perhaps that’s what i do late at night when entertaining my neighbours with the horn is not an option.

using ableton live, it is easy to get a few simple ideas down and quickly move on to recording sax lines. and as it happens, i have a few project files waiting for some attention. some are just quick sketches, some tracks are more arranged. and just now, i have been wanting to put to good use the time i have spent working on new ideas with the saxophone.

 

i have been focusing on ways to develop musical narratives in improvisation. and i have been trying out various ways to find melodic or harmonic paths to navigate outside of established structures while maintaining a sense of evolving melody.

this work has come out of a desire to expand narratives in longer forms. i felt tied down by shorter cycles that keep resolving to the root, and wanted to open up the possibilities of extended melodic development such as found in classical music. however, i did not want to fall into completely random root movements. i guest i wanted a method that would be suited to support free flowing improvised narratives without being tied to a structural approach or to the predictability of a specific, limited linguistic approach. (i really do not take on the idea of limiting musical expression to the form of a language and follow on this metaphor to expression in terms of a personal vocabulary, and the implied pitfalls of predictability. ok, let’s not get too political or philosophical here.)

so to sum up my idea in a few (but rather big) words… i felt i needed to free myself from limiting structures and find an open method for the free flow development of narrative in improvisation. so i had to look outside of cyclical forms that imply repeated return to a root and this sense of continually converging back to a fixed point.

for this, i started working with musical ‘sounds’ that dissociated ‘root’ with ‘tonal centre’. this is a very interesting and important distinction, and looking into Steve Coleman’s idea of negative chords helped a lot. and then, it was just a question of finding ways to detach from the informed habit of sequencing the tonal centre in predictable ways. the only way was to follow the logic of narrative development and of course not falling into the pull of following protocol. a very good bass player once said to me the very simple rule that applies to all music, ‘harmony always follows melody’. it had to be this way, and not the opposite.

so in the development of melodic narrative, i removed the anchor, this force of attraction found in tonal centers, and instead looked for ways to follow the logic intrinsic to improvised narratives, so that the melody would keep unfolding without being tethered. i had to rethink how i looked at musical forms (and even how one looks at form… is emptiness, emptiness is form… remember?).

so i started developing modalities (rather than scales), harmonic shapes (rather than chords) and considering axis (rather than tonal centre) and therefore orbits, pathways, nodal points between orbits. we’re not lost in space here, this is not music of the spheres, nor a nihilist chromatic hell, however, i had to detach from traditional approach to tonality and think in terms of interval relationships – in order to be able to move freely between paths, while retaining a narrative logic, that is without sounding completely aleatory, chromatic or just random.

of course, it takes a long time to assimilate all this method in my playing, to be able to improvise with it, particularly as i do not have a mathematical nor analytical approach when playing. free flow is essential to creativity i believe, and one way to detach from predictable structures is to ‘walk away from the expectations of the world’, as is expressed in another article you can find in this blog.

this approach also has taken a long time to develop, and i found that some aspects of it started to show in the solo work i have been documenting as ‘sounding out‘.

 

more recently, i have taken this to the studio, and we are now back to where this article started.

so here are a few pieces that i have recorded using sets of chords and beats, which of course are all arranged in advance using live, and then improvised saxophone lines over the top.

some of these were recorded a while ago and explore simple ideas and remain very melodic.

 

 

 

and i do like messing with beats and groove, even improvising bass lines on the keyboard of my laptop (yes, right…)

 

 

 

other tracks were developed differently; for example, the following piece actually started with a saxophone improvisation, to which i later added keys and bass, allowing me to leave much space, and follow the feel of the narrative improvisation.

 

 

 

and more recently still, the saxophone is now exploring new structures over simple tonal background. i quite like the wobbly feel of that nasty reaktor synth – this is a nice change to the traditional keys set up i have been using. this is not modal music, and perhaps more open ended, as it is closer to the drone on indian raga.

 

 

 

and coming back to the more traditional quartet sound, which a live group could be playing, with drums, bass and keys, but this time using harmonic shapes more suited for the structural abstraction of saxophone improvisation… an extract from a longer piece, this track is more of a demo in a single modality, with the multiplicity of harmonic options implied:

 

 

 

as usual, i hope you enjoy listening to this work, and would love to hear your thoughts and reactions…

 

peace,

xrv

 





The Five Buddha Families, by Francesca Fremantle

13 12 2016

“all of our negative emotions can be transmuted into wisdom.”

Buddhism now

The_Dhyani_Buddha_Akshobhya',_Tibetan_thangka,_late_13th_century,_Honolulu_Academy_of_Arts wikipedia.orgIt is possible to look at our whole life—our experience and our mind—as a mandala. The mandala is a ground of possible transformation, and the mandala of samsara—the confused, chaotic, basic ground—is also the mandala of nirvana. Tantra says that samsara and nirvana are one, that there is no difference—the very same energy which is distorted, confused and cloudy, and which generates the samsaric world, can be the pure, vibrant colours of the enlightened Buddha wisdom.

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You Are Not A Permanent Person, by Ajahn Sumedho

12 12 2016

timeless teachings, so relevant today…

Buddhism now

Sheep on roadside Dartmoor, DevonThe Five Aggregates

One way of dividing up the conditioned realm is into five aggregates (khandhas)—

  1. body (rupa),
  2. feeling (vedana),
  3. perception (sanna),
  4. mental formations (sankhara) and
  5. consciousness (vinnana).

When I first started meditating many years ago, I could understand the definitions of the five aggregates, but I did not know their reality; I had never really contemplated these things in an intuitive way through observing my own body, feelings, perceptions, mental formations, or consciousness. Initially, I really only contemplated the physical body, the four elements (earth, fire water and air), the parts of the body (eyes, ears, nose, tongue, etc) and the body itself. I contemplated material things, anything formed.

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Ecart de Sons EPK

29 08 2016

banner

 

 

contact:

henry – hherteman@wanadoo.fr

hervé – sndsukinspook@live.com

 

web

soundcloud.com/henry-herteman

soundcloud.com/herveperez

 

 

 

Dialogique intuitive d’un duo d’improvisateurs.

Multi-instrumentistes, ils sculptent des idiomes imaginaires de forme acoustique et électronique, à la croisée du jazz et de l’expérimental.

 

 

Ecart de Sons

documents audio:

01 [Ecole de Danse, Cazères]

02 [Club 52, Prat Bonrepeau]

03 [A.I.R., Sarrant]

04 [le caméléon, Toulouse]

 

 

 

Le duo Ecart de Sons offre un dialogue d’affinités musicales et poétiques de deux personnalités expérimentées dont la vocation est l’expressivité concertée.

 

Le parcours individuel de chaque musicien, riche de collaborations diverses est ponctué de nombreux concerts, d’enregistrements et compositions.

 

Le désir de parfaire ce duo prend corps au cours des années, et évolue selon la recherche de chaque musicien. Cette rencontre s’illustre dans la pratique de l’improvisation libre et des musiques intuitives et nouvelles, dont les bases convoquent: des développement jazz ou free, des idiomes imaginaires, des échos de la musique contemporaine et de l’electro-acoustique.

 

 

 

Documents video du duo en concert : vimeo.com/channels/ecartdesons

 

 

biographies:

 

Henry Herteman

clavier – trombone – mélodica – sax électronique

 

Musicien autodidacte, auteur de texte, il est attiré par la maîtrise du langage de divers instruments: piano, clavier, trombone, mélodica, percussion, Valiha Malgache.

Une orientation marquée par les rencontres d’improvisation avec lecteurs, poètes, musiciens, danseurs, peintres, performeurs. Engagé dans les courants d’échanges spontanés, de rencontres croisées. Il revendique le concept d’improvisation libre ou compovisée et musique intuitive avec des incursions dans les climats du jazz, du rock progressif, de la musique ethnique voire contemporaine. Ne rien s’interdire est son fil conducteur.

Il participe et organise de nombreux événements sur les scènes régionales de la musique improvisée. Participe aux ateliers de l’IREA, aux Sonofages, intervient aux «Nuits de Lauzerte» dans une performance «Passages croisés». Concepteur des journées de musique intuitives, des concerts rue des fleurs.

Il sort en mai 2015 un CD solo, Roule ta Salive chez Improvising Beings. Un travail qu’il présente au théâtre du pavé.

 

Sur son trajet, il croise nombreux musiciens:

Didier Laserre , Nuch Werchowska, Le Fil, Grand Piac, Zoubooo, Synapsis, Gilles Dalbis, Naoto Yamagishi, Laurent Rodriguez, Heddy Boubaker

 

soundcloud.com/henry-herteman

henrynow.simplesite.com

 

 

 

hervé perez

saxophones – shakuhachi – laptop

 

artiste, compositeur, improvisateur.

Participant actif sur la scène Européenne depuis 2000, en collaboration avec d’autres formes artistiques tel la danse, l’art visuel et l’écriture, il s’intéresse principalement aux modalités d’improvisation et aux relations entre musiciens, audience et environnement.

Travaille dans différentes formations de free jazz et d’improvisation libre, électroacoustique et musique contemporaine, ainsi qu’en performances solo. Il présente aussi son travail audio-visuel en installations in situ.

Il poursuis une recherche du son et sciences vibratoires d’une part, et aussi développe une approche très contemporaine de l’harmonie et de la mélodie. Inspiré de techniques anciennes de guérison et par la pratique de la méditation, il intègre science et spiritualité au sein de modalités de performance de la composition spontanée.

Le travail sur la résonance, la relation des formes vibratoires à l’architecture et au corps, la pratique du deep listening font alors partie intégrante du processus créatif qu’il chemine hors des enceintes stylistiques.

 

sndsukinspook.wordpress.com

spacers.lowtech.org/herve

soundcloud.com/herveperez

.

 

https://vimeo.com/channels/ecartdesons

 

 





quote for the day: interconnectedness

25 06 2016

in the face of a melt-down and resulting reactions from the web, i found a post so relevant and actual that i’d like to share the following quote:

 

The more we care for the happiness of others, the greater our own sense of well-being becomes. Cultivating a close, warm-hearted feeling for others automatically puts the mind at ease. This helps remove whatever fears or insecurities we may have and gives us the strength to cope with any obstacles we encounter. It is the ultimate source of success in life.

If we remember that it is not just ourselves but every one who has to undergo suffering, this more realistic perspective will increase our determination and capacity to overcome troubles. Indeed, with this attitude, each new obstacle can be seen as yet another valuable opportunity to improve our mind!

Inter-dependence, of course, is a fundamental law of nature. Not only higher forms of life but also many of the smallest insects are social beings who, without any religion, law or education, survive by mutual cooperation based on an innate recognition of their interconnectedness. The most subtle level of material phenomena is also governed by interdependence. All phenomena from the planet we inhabit to the oceans, clouds, forests and flowers that surround us, arise in dependence upon subtle patterns of energy. Without their proper interaction, they dissolve and decay.

It is because our own human existence is so dependent on the help of others that our need for love lies at the very foundation of our existence. Therefore we need a genuine sense of responsibility and a sincere concern for the welfare of others.

HHDL

from:
https://kalachakrablog.wordpress.com/2016/06/22/compassion-and-the-individual/