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 reality 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

 

 

 

 

 





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:

 

 

 

to finish with, a couple more pieces hot from the press…

 


 

 

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

 

peace,

xrv

 





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

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https://vimeo.com/channels/ecartdesons

 

 





sounding out in the south of france 2016 ctd

18 06 2016

Auvillar1bAuvillar2bCieutat1bCieutat2bGedresbLuz1bLuz2bStMartory1bStMartory2b

 

During the second half of my stay in France, visits to locations were a little more leisurely and i took the opportunity to revisit other know locations.

The town of Auvillar towers over the Garonne river, located on the travel route to Compostelle, it features an old covered market square built with measures for grain and cereals – some of which are now rare.
It is a busy place with tourism and local trade, and similarly, the church is buzzing with bursts of activity. In between visitors and prayers, i managed to squeeze a little empty space with melodic overtones…

While travelling across the pyrenees, a few places punctuated the journey. in Barèges, spa town situated high up in the mountains, a powerful torrent crosses the town. After an energising meditation by the water, i stopped in the small local chapel to keep my practice fingers running along. And of course, inspired by the gentle yet powerful vibe, i recorded a couple of pieces.

In luz, it was a pleasure to revisit the 12th century building of the fortified Templar church. The solid outside wall are drenched in sun and exposed to wild elements while the inside, in contrast, is dark and completely still. This displacement mirrored a space i could feel between the force and gentleness of the natural elements, so present and powerful in the area.

My head still in the rushing waters of torrents and high mountain glaciers after a day walk. i stopped for meditation in a small town, on the road returning from gavarnie. for once, i did not have my saxophone with me and decided to put to use a brand new shakuhachi i had just finished making. Its frail and gentle sound filled the grand space of the church and suddenly echoed the force i’d felt while watching the creation of a new waterfall from snow melting.

The last day in the mountain area, i had to make a couple of stops, just to review an amazing church i remembered from my previous trip. In the small passage town of Cieutat, the church was still just as overwhelming, but the more active feel of that particular morning removed some of the mystical quality. These last two visits were punctuated with flower duty, water changes and general church bustle. As i settled into the feel of the place, i caught myself playing similar chord structures and colours to what i had played during my last visit there. Was this harmonic movement really in the stone? Part of this place… For a second, i had a weird flashback, and yet made no effort to repeat the material from memory. And of course the improvisation took me somewhere else, but i could sense that that same colour / feel / tone was in the music, only slightly different – like a person you know well and meet again further down the line of their personal history.

Rushing down the mountains and on the road back to civilisation, on the way to my next gig, another quick stop took me to St Martory church… The flower duty and water changing provided background and clear marks where the atmosphere was saturated with the underlying sound of the nearby river. At first, the drone of passing water merged with traffic entrained me to play long overtones and focus on the interplay between harmonics contained within the breath sound. Soon, a pulse developed, water rippled, melody splashed. gesture. movement and form.

 

 

 

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le repos des plaines
alto saxophone, 02 june 2016
église de st sardos

 

 

 

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jours de lente
alto saxophone, 02 june 2016
église de st sardos

 

 

 

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roads and waterways
alto saxophone, 27 may 2016
église de st martory

 

 

 

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new flowers
alto saxophone, 27 may 2016
église de st martory

 

 

 

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the journey of water
alto saxophone, 27 may 2016
église de cieutat

 

 

 

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crest lines
alto saxophone, 27 may 2016
église de cieutat

 

 

 

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ripples from falling pebbles
2.1 shakuhachi, 26 may 2016
église de gèdres

 

 

 

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contrepoint de rivière et vent
alto saxophone, 25 may 2016
église de luz

 

 

 

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courte descente libre
alto saxophone, 25 may 2016
église de luz

 

 

 

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road squiggles
alto saxophone, 24 may 2016
église de barèges

 

 

 

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torrent under a low sky
alto saxophone, 24 may 2016
église de barèges

 

 

 

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sarrasin champart
alto saxophone, 17 may 2016
église de auvillar

 

 

 

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millet avoine
alto saxophone, 17 may 2016
église de auvillar

 

 

 

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sounding out in the south of france 2016

14 06 2016

PBuff1bPBuff2bStSardos11bStSardos12bStSardos13bStSardos14bVerdun11bVerdun12bVerdun13b

This year, my trip to France has been much focused around a series of concerts with my friend Henry Herteman. And i will share many documents of these in a future post.

Sounding out is of course always active as i have my saxophone everywhere i go, and if not, some new shakuhachi is near at hand. So any opportunity, or rather, any possible place i encounter is always a pleasure.

But this time, only a few choice cuts are on the menu. i have instead concentrated my efforts on old favourite locations and a few surprise finds. Each recording is also shorter and more focused.

In this post i present the first half of my explorations while at the beginning of my journey. and it begins very early on, after driving through the night, and a coffee break after dawn, i found myself walking around the picturesque town of Pierre Buffière and discovered the church was open. So not quite into the first leg of my trip, and still in transit, i decided to make a morning call and enter the dark resonant space that offered a cool haven and a change of pace.

A sense of movement is still in me, slowly tuning in to the stillness of the place. A clash between the bright day starting outside and the dark interior. Feeling tired and displaced. My mind wanders and continues its journey into imaginary landscapes. Traveling light and swift.

Soon after settling down into my new home, i visited the local church that remains a favourite with its vast sound. St Sardos is a quiet village with outsized church design. Its magnificent reverb is inspiring and lifting while calming and instilling silence. A strange combination that seems to bring out of me the most gentle melodies and adventurous harmonic work made possible by the very long tail.
As soon as i started making a sound, i slipped into a timeless zone. all is suspended.

And finally, the third location i present today is the deep blue interior of Verdun sur Garonne. This place is so very poignant, it always had a deep effect on me.
The strange feeling of a known place. But a different one that has traces of memory so fine it escapes the touch.
There is no other way to describe this session, but with a quote: it is the time my saxophone gently weeps.

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paysage connu
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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mémoire augmentée
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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des phi au point de faille
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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cascade de blues
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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l’oubli
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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first shade
alto saxophone, 05 may 2016
église de st sardos

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painting in relief
alto saxophone, 05 may 2016
église de st sardos

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the convent
alto saxophone, 05 may 2016
église de st sardos

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if i knew
alto saxophone, 05 may 2016
église de st sardos

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raining red
alto saxophone, 05 may 2016
église de st sardos

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silent flower
alto saxophone, 05 may 2016
église de st sardos

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by night and by day
alto saxophone, 04 may 2016
église de ste croix, pierre buffière

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by vales and hills
alto saxophone, 04 may 2016
église de ste croix, pierre buffière

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Mirror Image – album release

15 12 2015

 

Hervé Perez & Roger Mills – Mirror Image

 

Released
14 December 2015
by linear obsessional recordings
 

 

 

“Linear Obsessional is delighted to present this beautifully recorded collection of free improvisations by Nada. Nada is the duo of Roger Mills – trumpet and Hervé Perez – alto sax.
The improvisations that make up “Mirror Image” are revelatory, as both musicians explore a huge range of sonic textures through extended technique and make for a fascinating and engrossing listen as they search out their common ground. Interestingly although both musicians had played together via internet collaborations “Mirror Image” is the result of their first meetings in person. The sound of two musicians communicating so naturally, but also with great control and subtlety, makes this an enormously rewarding listen.”

Available as a free download with accompanying PDF booklet of notes with beautiful images by Arman S. Haghi
from the release page

 

Mirror Image is the debut album of the duo Nada, featuring UK based saxophonist Hervé Perez and Australian trumpeter Roger Mills. While Perez and Mills live on opposite sides of the world, they met through their mutual work with the telematic improvisation music ensemble Ethernet Orchestra. The duo quickly realised a shared aesthetic and continued developing their sound online.

Hervé and Roger would like to thank Elke Utermöhlen and Martin Slawig (blackhole-factory) for bringing us together, Richard Sanderson for releasing the album,and Arman S. Haghi for the original artwork.

This album is made up of three recordings gathered during a residency in Studio_A | Kunstmühle on December 06 and 07, 2014 and includes a live performance of the duo at Club Instabil

 

 

Roger Mills – trumpet
Hervé Perez – alto sax
edit and master by @sndsukinspook
artwork by Arman S. Haghi





sounding out in the south of france

2 11 2015

StSardos2bMazerescampan

summer 2015. i retrace my steps from a previous visit in the region, finding new venues to accommodate meditation and music. here are documents that follow new explorations of architecture and sacred sites, sounding out wonderful spaces of magnificent splendour and spirit. i feel once again that the path has led me through increasingly deep experiences and i hope that you will enjoy this new page. indeed this set of recent recordings show that the music keeps on growing and so is my experience of deep listening. getting closer to the underlying concept of this whole project, i keep learning and discovering, finding new understanding of what is happening in the space between improvisation, sound vibrations and our harmonic relationship with the environment. and the more i find it difficult to discriminate between art and life.

needless to say, each and every one of these experiences is very special to me. and much is due to the amazing and inspiring locations i visit.
i really hope that these audio documents will carry an impression of this for your enjoyment.

StGironslagrasseVerdun

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lapis sky
alto saxophone, 07 august 2015
église st michel, verdun sur garonne

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nocturne
alto saxophone, 07 august 2015
église st michel, verdun sur garonne

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mouvement céleste
alto saxophone, 07 august 2015
église st michel, verdun sur garonne

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prayer for silence
alto saxophone, 01 august 2015
église st michel, lagrasse

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prayer for the sun
alto saxophone, 01 august 2015
église st michel, lagrasse

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prayer for icecream
alto saxophone, 01 august 2015
église st michel, lagrasse

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marking time
alto saxophone, 28 july 2015
église st giron

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le passage
alto saxophone, 28 july 2015
église st giron

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abbatiale 1
alto saxophone, 27 july 2015
abbaye cistercienne de l’escaladieu

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abbatiale 2
alto saxophone, 27 july 2015
abbaye cistercienne de l’escaladieu

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abbatiale 3
alto saxophone, 27 july 2015
abbaye cistercienne de l’escaladieu

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habitat des moines 1 grand salon
alto saxophone, 27 july 2015
abbaye cistercienne de l’escaladieu

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habitat des moines 1 paysages
alto saxophone, 27 july 2015
abbaye cistercienne de l’escaladieu

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rapture
alto saxophone, 27 july 2015
église de cieutat

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third passage
alto saxophone, 26 july 2015
abbatiale de st savin

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the rock
alto saxophone, 26 july 2015
abbatiale de st savin

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waterfall in blue light
alto saxophone, 26 july 2015
abbatiale de st savin

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empty streets
alto saxophone, 25 july 2015
église de campan

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dummy town
alto saxophone, 25 july 2015
église de campan

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silent crossing
alto saxophone, 25 july 2015
église de campan

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retour en arrière
alto saxophone, 21 july 2015
église de mazères

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saline flotation
alto saxophone, 21 july 2015
église de mazères

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medieval meanderings
alto saxophone, 20 july 2015
église de rieux sur volvestre

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filmic gestures
alto saxophone, 16 july 2015
église de montbeton

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the space between
alto saxophone, 16 july 2015
église de montbeton

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it is said
alto saxophone, 16 july 2015
église de montbeton

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pastoral departure
alto saxophone, 09 july 2015
église de st sardos

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mountain road
alto saxophone, 09 july 2015
église de st sardos

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the wild
alto saxophone, 09 july 2015
église de st sardos

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mer de nuages
alto saxophone, 09 july 2015
église de st sardos

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