Resonance day 4 at Alchemia - Krakow Autumn Jazz 22.11

The last of the four days with Resonance at Alchemia, but not the last meeting with music during the week. Polish jazz scene will be presented Saturday evening (Pawel Szpura & Pawel Postaremczak duo; Piotr Damasiewicz Imprographic Quartet). The Resonance orchestra will return on Sunday for the final concert at Manggha to present the results of the rehearsals held during last few days.
A brief summary of friday events at Alchemia:

Day 4

Set I

Per-Ake Holmlander - Tim Daisy
Tuba and drums is definitely not your usual jazz duo, but such boundaries are not really of importance in improvised music. Per-Ake employs his repertoire of bubbling and gurgling sounds and Tim spices it up with some tricks from his own bag (literally, taking out a different set of mallets, pocket radio and else). The most entertaining and surprising part of the set is when Per-Ake treats his tuba as a drumset of his own - a percussive fiesta alltogether with Tim. 

Resonance at Alchemia days 2 and 3 - Krakow Autumn Jazz 20-21.11

The week continues with more powerfull music, more crazy fun dj sets (Tim, Christoff and Ken would control the setlist for the afterparties), more drinks (surprising few mad dogs being drunk this year). Here's a brief summary of the 2nd and 3rd day with Resonance:

Day 2

Set I

Steve Swell – Waclaw Zimpel – Tim Daisy

A dynamic interaction between the three, one that let you appreciate both melodic and hectic side of improvised music.  The melodic - that would be for the most part the domain of Waclaw's clarinet, Steve countered those lines with trombone rambling, but there would be some parts where all three musicians would just kick it up a notch. The adventurous set closes with a primal ethno-passage with both Steve and Waclaw plaing wooden shepeherd flutes.

Swedish Azz at Alchemia (09.04) Krakow Jazz Autumn Preview

Krakow Jazz Autumn Preview is a series of spring concerts, an offspring so to speak of the main annual event that brings the heroes of improvised jazz music to Krakow. The series got its launching event a few days ago with a concert by Swedish Azz group, quite a particular project, a tribute to undiscovered and occult swedish jazz music of past decades.

With Mats Gustafsson as a spokesman, the group is obviosuly not your typical copycats-tribute band. The original tunes (appearing in its original form in the vinyl as well) mash with the post-modern deconstruction with elements of crazy, noise and free all included in the service. The results are inspiring, surprising and often humorous exemplified well the Christmas tune played to end the concert (two days ago it was still winter outside) and the video excerpt below so enough talking (writing).

To complete the retro-garde aspect of the group's reportoire Swedish Azz can proudly present a series of vinyl-only releases on Not Two records that sport fittingly old-school covers. The Alchemia concert was in fact a release party to their new single printed on a red flexi-disc and double 10 inch release titled "Erik Carlsson and All-Stars" (Volym 1 and 2).

The group's catalogue should be of serious interest to  any record collector interested in jazz, free jazz, swedish jazz or any of the players included.

The following events of the series should be of serious interest to any live music lover and, although I'll remeber the dates in the weekly concert schedule posts, let me turn your attention to several dates in Alchemia straight away.

22.04 Free the Dance - improvised dance and music performance, series directed by Malgorzata Haduch

24.04 Hang Em High - punk-jazz-metal-rock-... unit , heavy hitting music to be expected

07.05 Rara Avis - new project by Stefano Ferrian (you can found some more informations on the blog about his recent activity) with Ken Vandermark along the italian core of the group.

23.05 Sabir Matten with Matthew Shipp. No comment needed

29.05 Maya Homburger, Barry Guy and Lucas Niggli. Classical clarity of tone and passion of improvisation united.

Swedish Azz
Mats Gustafsson - baritone sax, alto sax, live electronics
Per - Ake Holmlander - tuba, cimbasso
Dieb13 - turntables, live electronics
Erik Carlsson - drums, percussion

Alchemia. Krakow. 09.04.2013. Autumn Jazz Preview here's the teaser for the 22.04


and the teaser for the 24.04

Ken Vandermark Resonance Ensemble - What Country Is This? [Not Two]

Resonance:
Ken Vandermark - baritone sax & Bb clarinet
Dave Rempis - alto & tenor sax
Mikolaj Trzaska - alto sax & bass clarinet
Waclaw Zimpel - Bb & bass clarinet
Steve Swell - trombone
Magnus Broo - trumpet
Per-Ake Holmlander - truba
Devin Hoff - double bass
Michael Zerang - drums
Tim Daisy - drums

Not Two 2012

I've written very briefly about this band's performance in the beginning of the year and you can check the old post for a bit of background history. "What Country Is This?" is basically is a result of the third meeting of the band, recorded in Chicago studio session after busy small-groups concerts and rehearsal schedule. If you know the previous recordings (especially the last year's "Kafka in Flight") you know more or less what are you going to get, which means you shouldn't hesitate to take another round.

Inner Ear (Trzaska / Swell / Holmlander / Daisy) at Alchemia (21.03)

As Marek Winiarski introduced the band - Inner Ear is 40% of Resonance and that's already quite good result. Quartet was born 3 years ago, with the second meeting of the Resonance Ensemble. I've written recently about their fresh and first cd "Breathing Steam" as well as I talked about the band with Mikolaj and he spoke also about their first meeting: 

...You're on stage and you see it, you hear this is THE band.We play so many improvisational meetings, that's what this music is about. And sometimes you hear from the very firsttime this is THE group. You look, go one place and somebody's following you, or you can follow someone, or you canmake a turn and he will continue. It's all beyond any explanation...
(in the section "Interviews" you can find links to the entire interview)

I can confirm this is THE band, 4 musicians filling the air with flow of ideas, immagination, adventorous spirit, reacting and co-creating. Music for inner ear that demands focus but rewards greatly the attention (and the audience gathered in Alchemia was holding their breath to hear even the most futile sounds hidden in the apparent silence). I invite you to get back to the cd's review and interview with Mikolaj for more. As for the concert it all summed up for me in the brief moment - expression of complete excitement andon Tim Daisy's face as the band was about to start the second improv of the concert. He had no idea what was about to happen. And he enjoyed it immensely. So did I and (to judge from the final applause) the rest of the audience.

(photos taken by Krzysztof Penarski a week before during the Resonance performance)

Mikolaj Trzaska - baritone sax, bass clarinet, clarinet, objects

Steve Swell - trombone, objects

Per-Ake Holmlander - tuba

Tim Daisy - drums, percussion

Alchemia. Krakow. 21.03.2012

Inner Ear (Trzaska / Swell / Holmlander / Daisy) - Breathing Steam [Kilogram]

Inner Ear Quartet:

Mikolaj Trzaska - alto saxophone, bass clarinet, tarogat

Steve Swell - trombone

Per-Ake Holmlander - tuba

Tim Daisy - drums

Kilogram Records 2011

Inner Ear group is an offspring of Ken Vandermark's Resonance Project (it's second edition to be precise, the one that resulted in "Kafka in Flight"). All the musicians involved here arrived late to Krakow the first night of the project and thus was formed the group to play the last set of the evening. 

Ironically enough, when the decision to reunite came and the band was to play a small tour in Poland last year, Tim Daisy and Steve Swell got stuck at the airport in Munich and couldn't show up for what was planned to be the final concert of the Autumn Jazz Festival of 2010. The other two played that night with Ken Vandermark who fortunately was still in town (more about which in this post). All the travelling - logistics problems did slow them down, but in the end the quartet got together, united by the will to play music with each other. The music on this cd was registered a week later in Radio Gdansk Studio.

Ken Vandermark Resonance - Kafka in Flight [Not Two]

 

Resonance :

Magnus Broo - trumpet
Michael Zerang - drums
Ken Vandermark - tenor saxophone, Bb clarinet
Mikolaj Trzaska - alto saxophone, bass clarinet
Mark Tokar - double bass
Dave Rempis - alto & tenor saxophone
Steve Swell - trombone
Per-Ake Holmlander - tuba
Tim Daisy - drums
Waclaw Zimpel - Bb & bass clarinet, tarogato

Not Two 2011

This one I've been long waiting for. I had the privilege to witness the process of coming together of the first edition of this project. In 2007 Marek Winiarski and Ken Vandermark invited musicians from all over the world to Krakow, they would practice for an entire week every morning, play improvised sets of music every evening and finally perform as an orchestra on the last evening of the week (all of this material has been released - saturday concert in Lviv on LP, evening concerts and final concert in Krakow in a fantastic 10-cds "Resonance" box).

Two years later Resonance happens again, with the same musicians (one exception - Waclaw Zimpel takes over the place of Yuriy Yaremchuk), the same time of the year (main project of the Autumn Jazz Festival), the same place ("Alchemia" club which hosts the festival). But with only two days to practice (with first one being almost entirely lost because of flight delays). Because of that Ken has to change to concepiton behind this band. It is still big ensemble, so it draws on his experience of playing in and writing for Chicago Tentet and Territory Band, but, what is a clear difference, this is a jazz band and it relies on scored material. Only the organization of this material has to be different.

Mikolaj Trzaska, Per-Ake Holmlander, Ken Vandermark - Alchemia 30.11

by Krzysztof Penarski

Because of flight delays and closed airport in Munich Steve Swell and Tim Daisy couldn't play at Alchemia as they were supposed to this day. Fortunately the other two (Mikolaj and Per-Ake) even if with slight problems made it to Krakow and Ken was still here to create an ad hoc concert of solos, duos and trio performances. Which allowed to present two crucial elements of improvised music (very dialectic indeed) - expression of individuality and group interplay.

Per-Ake Holmlander starts with a solo tuba and this is definitely a rare ocassion to see such performance. Per-Ake starts with long, wailing calls, with almost the whole long piece on circular breath. The amazing part is how he manages to play on this huge brass instrument the music that is so light-footed, fragile and agile. He takes a second and says that playing the tuba is pretty much athleticism and sometimes some music is involved :) The second improv includes all the strange sounds one can imagine. Sometimes subtle, windy, airy (very much responding to the white noise of air-ventillation system in the room), sometimes overdrown, picturesque, gurgling sounds. In any case you feel you heard all those sounds but not in a musical context so far, sometimes recalling sounds of nature, animal calls, sometimes strange electronic or mechanical machinery.

by Krzysztof Penarski

Mikolaj plays second solo performance of the day on alto. He starts with the sound of air flowing through the horn, very much white noise again, into which he gradually puts some distortions, then rhythm structure, using sax keys that sound like tuned mini-drums. Quite impressive it is when he manages to add to that (the white noise and the rhythm clapping) the melody over the top. It's been written a lot about his very slavic, romantic nature and the sort of primal lullaby he plays is very haunting. The last part of the improvisation is full of 'non-musical' sounds again, hissing, gurgling, howling, growling trough his instruments, these are hovewer suddenly suspended, interlayered with some very melodic and jazz phrases with wonderful vibrato sound. Very inspring contrast (history dialectics comes to mind again).

 First set finishes with a duo by Mikolaj and Per-Ake with some solid interplay, explosive alto solo by Trzaska, more backed, but still very imaginaive playing by Per-Ake. Mikolaj plays bass clarinet in the second part, the duo exchanges melodies in very much call & response dialogue, and even the softest and hushed moments are very intense. They finish with spontaneously composed war song, with decisive melody, march-like rhythm, accentuated by long notes by Per-Ake, switching the roles when Mikolaj gets into repetitive line and tuba play a short solo.

by Krzysztof Penarski

Second set starts with Ken and Mikolaj on stage as they warm up with sharp and short clarinet duo (Mikolaj on bass). The second piece, the highlight of the evening, is played on alto (Mikolaj) and tenor (Ken) and is a long discussion between lyrical, melodic soul of Mikolaj and Ken's inner-drummer. The most intense moment is when they meet at the crossroad, hit two-notes riff with both rhytmic and harmonic synchronicity that is quite astounding. They end this part of the set with Mikolaj on tarogato and Ken back to clarinet, with a very pensive, meditative piece full of long, ritual calls.

Per-Ake joins them on stage to creat this very unique lineup with 2 reeds and a tuba. The performance could be divided in 3 parts, with short tuba solos serving as bridge (to allow the other two to change the instruments), but there is no sense in trying to do more precise overview (and I'm rather unable to decipher my chaotic notes, and 1/3 of them concerned this last part of the concert). The musical action very rich, full of twists, and, bit surprisingly, very structured. Ken would again invent on the spot some rhythmic figures, short basslines, or riffs, that would organize much of the music. Sometimes he would be joined by Per-Ake, sometimes by Mikolaj. Could be a risky thesis but it very much resembled to me the spontaneous composition strategies used so much by Chicago Tentet, with lot of ad hoc inner-group sections appearing (which sound pretty absurd when we're talking about small group like trio, although I guess it's the smallest line-up possible when you can have this kind of interaction).

While the whole concert was not at the same emotional level as the Ken's solo performance from the day before, it was still filled with inspiring music, with 3 indivudals trying to connect on stage, and, even if struggling at times, fighting through their differences, very much succeeding to do so.

PS1. It seems very fitting that Ken, a figure of such a huge importance to improvsied music in Alchemia, and to the festival, would play on its last concert in this year.

PS.2. This was the last concert of 5th edition of Krakow Autumn Jazz. Thanks to all the musicians were a part of this, thank to Alchemia crew and Marek Winiarski for these 2 and a half months already waiting for the next year.

PS3. As promised, Ken then finished the party with some oldschool funky vibe dj-ing :) Great fun.

Barry Guy New Orchestra day 5 - final concert at Manghha

photo by Krzysztof Penarski

What an evening!
That was an amazing display of musical vision and passion and skills all combined into making this whole project work. I'm still trying to get my head around this concert and probably will never manage to do so. Absolutely incredible display of beauty, rich, even lush harmonies, great melodies, mad improvs and incredible passionate, yet so precise playing with Barry in control of the whole Orchestra in double role of bass player and conductor. Had a chance to see the band rehearsing before the concert and Barry commenting to the other musicians on stage that "You're pretty much know what you're doing now". Incredible to see all those wild and free spirits playing with such focus and precision so strictly written ensemble music, half of them with reading glasses to see the notes clearly. I find nothing really i could say about the music itself, because nothing i could say would do justice to this event. I'd like to give some special recognition to Evan for his soloing (absolutely in top form this night) or Mats, who shared conducting duties at one point (the band had cards used as signals to create a spontaneous composition with "S" meaning a solo part, at one point Mats shows the "S" to Barry so he would have to stop conducting and get into the improvisation with the others).  Still it was very much ensemble playing and a fantastic group sound and every one got a chance to display their individual skills.
The band played "Amphi" a composition Barry wrote for Maya and himself as a duo and expand the arrangement for the whole Orchestra (the first performance of this piece in this setting). The 2nd set piece was "Inscape-Tableux" which was the composition this band was born with, 10 years ago.

Thank You
Barry, Maya, Evan, Trevor, Mats, Augusti, Johannes, Per-Ake, Hans, Herb, Raymond, Paul (in no particular order) for this amazing week and the music You gave us.
Thanks to Marek Winiarski, Alchemia and the whole crew working to make Autumn Jazz Festival and particularly this project such a success!



A reminder:
Monday at 8 pm (CET) at radiofrycz.pl some music coming and it will be impossible to not get back to this week. Stay tuned then, the playlist will be shared tomorrow after the program :)

Barry Guy New Orchestra day 4 - small groups at Alchemia

Agustí Fernández - photo by Krzysztof Penarski

1st set
Evan Parker, Paul Lytton
Sax-drums duos are one of my favourites. Could be since probably the very first 'free' recording i heard and was taken by was John Coltrane with Rashied Ali. It's this kind of setting which give you enough rhythmic support in drums but gives you pretty much all the freedom you want in any other department. Paul gets immediately busy and push forward with mad pace. Evan sticks to tenor and does his explorations at ease travelling through some meandering lines. More or less in the around the half Paul gets more into his percussive sounds and the playing is more lyrical, but still pretty dense. Evan stays very much in the middle register and plays with a round and open tone, very post-Coltrane at times. Still i would like to see more changes, more variety in the playing. 'Good' doesn't cut it anymore for these musicians. I will take it as a 'warm-up' session toward the other sets (although with the pace they played Paul would probably disagree with me on that one).

2nd set
Trevor Watts, Herb Robertson, Hans Koch
And the rule of the 2nd set stays valid for the whole week :) . While Hans would provide some eerie bottom to the overall sound, Trevor and Herb go straight up into high register and produce some explosive and blurry lines, sometimes shrieky, with the sounds piercing the air and ear and getting right inside your head. Hans would mainly assume the more supportive role and take care of melodically organized structure. They stop suddenly when they hit the single note together. 3 remaining improvs would contain a lot of fun-to-watch interplay, Herb and Trevor with spiraling lines circling and entangling each other. Herb also adds his showmanship skills to the mix (during the Trevor-Hans duo he shouts and than does the scared and surprised face as if he didn't know where the shout came from). 3rd piece includes some great Rahsaan-like playing with Trevor doing some harmonics with both soprano and alto, and Herb doing the same thing with trumpet and cornet. Probably the first time i heard 5 instruments at once played by a trio. Lot of buzz sounds also by Herb who has his whole set of mutes and toys and also uses his body to alternate the sound, or the room acoustics, playing in all directions, trumpet up, down or side (thanks to some tricky and elastic mouthpiece he puts on the horn). In the last piece they start building up a chord progression, create the momentum and go toward a very clear end. When Herb (who missed the fun of the previous days because of the flight problems) keeps the piece alive with a single note repeated 10 or more times till the other would join him again. After the last one they look each other suspiciously left and right not sure whether to play more or not. Fun and abstract with some laughs in the audience provoked both by music and the performance aspects of playing.

3rd set
Octet (New Orchestra without Barry Guy, Evan Parker, Hans Koch but with the addition of Trevor Watts)
Simply an amazing set. One could fill up the whole volume trying to describe the succession of all the structures, soloing order, relations that would spontaneously appear on stage. Incredible power of sound. With all the horns put together (tuba, baritone, alto, trombone, trumpet - great line-up) one could have expected a complete chaos on stage. Instead it was unbelievable how the whole set was melodic and coherent. With powerful chords appearing from the thin air. After the first discharge of power they get into another sound exploration (some plastic bottles got hurt), gradually commented by some coordinated outbursts of sound from Johannes and Mats (i guess the common experience, also with Per-Ake, of playing together in Chicago Tentet helps). The mood gets pensive, the beat almost meditative. Mats introduces a two-note riff, leaving enough space for Augusti to fill the gaps (his sound would get lost when all horns would play at once), Johannes and Herb start soloing on that base, while Trevor and Per-Ake would join the riff building-up the tension. And suddenly all would expand the riff into incredible beautiful chord progression and melodies over the top.
When they stop this part, Per-Ake gets to do his magic with some Jabba (from Star Wars) kind of a speech, getting than more cartoon-like. Gradually all the others join and the sound gets massive again (no sense in describing this in more step-by step way) till they, yet again, build this massive wall-of-sound and destroy it abruptly.
Obviously the crowd wanted more and we got it. The encore was dedicated to Marek Winiarski and Trevor said "we better make it a good one". All the hell breaks loose in this case untill some structures gradually appear and another powerful chord is found. After the chord dissapears and there is only a slowly dieing sound of a little plate rolling on the Raymond's snare it could be pretty much over but Trevor keeps the encore alive with a klezmer-like dance tune that could pretty much fill a disco frame (as proved by some neat moves by Herb on stage at this moment). To keep his promise Trevor makes them re-do the whole thing 2 or 3 more times. Outstanding set and unbelievable fun.

Ps
After the concert and a dinner (during the weekend-night party in Alchemia with some dj's playing bit funk) Trevor would still seem the most eager to party leading tho whole pack of latin-percussion ensemble that would use pretty much all the material available to play - wine bottles, water bottle, glasses, knives, forks, spoons, plates, tables, metal construction of the stage support,  and a chair (some glasses wouldn't survive the test) . To see Trevor Watts and Herb Robertson (who would be two staying the longest) and others or Augusti Fernandez doing some pretty much alternative moves on the dancefloor, and, in general, the whole pack enjoying the time so much - priceless.

Barry Guy New Orchestra day 2 - small groups at Alchemia

Trevor Watts - photo by Krzysztof Penarski

set 1
Maya Homburger - solo
Maya would begin each set with a solo performance of a piece belonging to a cycle composed by Barry Guy and named (as he had asked to) after Butterflies. I found myself completely incapable of judging contemporary music of this kind. The playing was impeccable, the music was light and mesmerizing. All three pieces created a wonderful kind of diversion and, being strictly composed,  created interesting contrast with the completely improvised parts of the sets.
Trevor Watts, Johannes Bauer
You could expect something very much abstract from a duo of this kind but Johannes has a knack for some very structured lines. He puts out a very melodic line that serves as stairs on which Trevor can jump and run down & up all over with his tenor. At certain point to get to much more rhythm-counterpoint playing and end the first piece on single note. The 2nd piece finds Trevor on soprano and  and Johannes putting on the line some vibrato and distorted notes (two at once) and they build up the tension, till the notes are getting longer and the pauses shorter and the structure much more dense. After a stop Trevor engages in some polyphonic exploration and Johannes joins him rambling through the bone and creating some very strange musical effects, which in the end resemble some kind of ancient beat-box with a lot of hissing and basically the simply function of breathing in and out being utilized as a rhythm machine. Completing it with 3rd short improv they close the set that would be a nice intro to another great evening.

2nd set
Maya Homburger - solo
Hans Koch, Per-Ake Holmlander, Paul Lytton, Raymond Strid
What could pretty much a regular free-jazz ensemble turned to be yet again the most abstract playing of the night (could be the rule of the 2nd set?).  Both drummers (Paul having just the snare and one tom drum, and the whole table of different objects at his disposal, Raymond behind the full drums set and many toys of his own) would and front-line would immediately engage in sonic explorations with little regard for rhythm or melody or even a single note or getting a sound that one 'should' play on their particular instruments. Yet they did take great care of tension and the structure of the first piece. Slowly building up the dynamics, The drummers doing their research like in some alchemy workshop (since we are in 'Alchemia') till they get to point of real madness, Raymond trashing plates with a chain, Paul rubbing a dozen of different objects on the snare, while Hans and Per-Ake create a a 2 r 3 note basis for them (yes - 2 drummers are soloing and clarinet and tuba play the rhythmic structure!). The Volcano stop s its act suddenly with a gesture by Per-Ake. The 2nd piece (can't decipher my notes right now) has the eerie mood, with lot of gongs and drones and bows on the plates from Raymond. And similarly backed-off playing from the reed and brass, very much ensemble sound and great interplay.

3rd set



Maya Homburger - solo
Trevor Watts, Barry Guy, Raymond Strid
Another sax-drums-trio 3rd set and another great ending to the fine music of this evening. They play one extended improvisation. With moods and tensions flowing in and out and infinitely. Abstract yet with some clear jazz-tinges to it. Some bluesy soulful lines from Trevor at times, at one point even some syncopated almost swinging drumming with a lot of rimshots from Raymond (this time sticking mostly to the regular drums set) and great bottom lines by Barry (whom i find most impressive when using his bow, he does play with drumsticks at some point but today, very much in a caring way, no box fighting with the bass). A wonderful interplay with a piece often changing its direction in a never-ending search for a music adventure. Pretty much the same words as yesterday could be used, even though the music was quite different. Which only shows the weakness of the language, or at least my language horizons (polish or english) to not put the blame on the verbal communication itself. They cap the set with a short, but very pleasing encore.


additional notes
- Birthday of Don Cherry!
- Introducing the 3rd set Barry told the short story about how, few decades ago, Trevor was the guy who introduced him to the improvised music. It was great to see the sheer joy of them playing together at stage after so many years of musical friendship. After the concert Barry and the whole group would get back to that saying "It's all your fault Trevor" :)  . Thank You for that Trevor.

Barry Guy New Orchestra day 1 - small groups at Alchemia

photo by Krzysztof Penarski

1st set

Augusti Fernandez solo

Absolutely stunning improvisation by Augusti who plays a long and extended piece on piano barely using the keys! He starts with some kind of wooden block on piano strings and, he's plucking, drumming, tapping, hammering and using all kind of small objects on strings that will jump and reverberate on them adding percussion quality to the sound. First the overall sounds is that of some kind of ominous harp, very deep and dark. Than it gets wilder, rougher and finally Augusti creates some kind of an open ocean storm, very powerful, but with a natural flow to it, with phrases going repetitive in some like ways, yet constantly changing the direction. Hats off

Augusti Fernandez / Barry Guy

The second piece of the first set is a tune entitled "Anna Lisa"  by Barry Guy (originally written for bass solo). The piece starts with a lovely theme, joyful and serene.  But they start digging deeper into the harmony, under the melody, adding slowly dynamics and drive to the them, until they completely abandon it. Only to get back later for a second. They will get back to it a few times, each time to start a completely different journey around the world, and get back, surprisingly,  to the same place. The wildest part include Barry Guy using the bow, than another one (just the wooden part) hammering the strings with passion, and after that sticking some metal stick between the strings and hitting on it with a drumstick, looking very much like a boxer during the fight, jumping constantly on his feet and using constantly his reflexes to avoid the hit. Which is complemented by fast arpeggios by Augusti running all over the keyboard length with both hands. 

2nd set

Mats Gustafsson solo

Mats plays baritone on this one and he's one of the most impressive players on the instrument I had a chance to see or hear. He starts with very percussive sounds of tongue-flapping, instrument's keys clicking. Very imaginative and detailed playing on this part. Than he starts the deep, very bodily baritone sound, and you can feel he is playing right from his guts. Very soulful and passionate sound, highly energetic too. In fact he looks like he is lifting some heavy weight. He plays two, both very impressive, pieces.

Hans Koch (bass clarinet), Johannes Bauer (trombone), Per-Ake Holmlander (tuba)

The one ad-hoc group of the night and most abstract and the less 'jazz' part of the evening. Obviously in big part because of the unusual line-up. They engage in this three-part conversation with some adventurous sound research, often with Johannes or Per-Ake providing more substantial and melodic base for the other two. Uttering strange sounds, whooshing, shooshing, splashing all over the stage. I had this funny image of cartoon monsters which after a while turn out not to be scary at all. It's great not only too hear them playing but also to see them perform. Loved the little dance of Johannes Bauer while he was soloing. Also loved to see the creativity presented by Hans Koch who for a second used his cheek to play on the clarinet! Very abstract yet fun.

3rd set

Evan Parker/Barry Guy/Paul Lytton

It's like you get to have a dessert after a very satisfying meal. This trio is one of the finest in the improvised scene all over the world. And while not so much into it at the beginning, by the end of the mighty improvisation I was all inside this strange world. This set had it all, passionate playing, wild improvisations, solo moments, some sonoristic games, incredible musicianship (Evan Parker circular-breathing technique is amazing) and most of all absolutely masterful interplay between the 3 musicians who played together for many, many years. I can't even find the adjectives i could use here. It's like they str  creating the whole world with the sounds. You see all the shapes, all the colors, you can almost touch it. It's like they are re-playing the process of creation. A beautiful set to close the very first evening of this project. 

additional notes

1 Before the concert, the exhibition of some great photos by Peter Gannushkin was opened. Including portraits of 4 musicians that are playing in the Barry Guy New Orchestra.

2 The first 2 sets were both around 30-35 mins. The last one was the longest - about 40 mins plus a short encore.

3 All the music (very much like the Resonance Project from 3 years ago) was recorded, hopefully, to be released.

4 After hunting down all the musicians to get some cds signed I had a chance to listen to great discussion between Barry and Peter on the topic of flying with the instruments and they ways it can affect music :) Got to know some fun facts.  

Barry Guy New Orchestra week - introduction

The project to which I will refer from now on as the 'Barry Guy week in Krakow" started today and what a start it was!

Barry Guy - photo by Krzysztof Penarski

To introduce the whole thing shortly: Barry Guy New Orchestra is one of the few big groups in avant-garde/free-jazz idiom, and is composed by the true masters of the genre. Evan Parker, Mats Gustafsson, Hans Koch reeds, Herb Robertson, Johannes Bauer, Per-Ake Holmlander brass instruments, Augusti Fernandez on piano, both Raymond Strid and Paul Lytton on drums and the leader himself on bass.
The central point of the week and the whole festival is the final concert (Saturday) when the band (with Trevor Watts and Maya Homburger as guest soloists) will perform among others the new piece composed specifically for the festival and the celebration of 10th anniversary of the band existing. Before that though, through 4 evenings, small groups of any number of musicians from the ones listed above (mainly ones with established history of playing together, some created ad hoc) will play music in Alchemia club. Each night divided into 3 sets of music.



As I predicted, these notes will be basically a poor attempt to present some very fresh impressions, not anything overly analytic and thought-over. Mainly to get those out of my system and make space for the new ones to come the next evening.

The whole week was also introduced yesterday (and re-played today) on studenckie radio frycz with following playlist

1 Satoko Fujii Ma-Do - Ripple Mark
2 Maciej Obara / John Lindberg / Harvey Sorgen MaMuGe 3 - T'wixt D and E
3 Maya Homburger / Barry Guy - Annunciation
4 Maya Hombuerger - Celebration (compostion - Barry Guy)
5 Mats Gustafsson / Barry Guy / Raymond Strid - Taku
6 Conrad Bauer / Johannes Bauer - Dialog 2
7 Per-Ake Holmlander - Down and Ups
8 Herb Robertson / Tom Sayek - X-Rays
9 Augusti Fernandez / Barry Guy / Ramond Lopez - Odyssey
11 Hans Koch / Roger Turner - untitled
12 Barry Guy -  Sleep Leaper (solo piece from the duo album with Mats "Sinners, rather than Saints")
13 Evan Parker / Barry Guy / Paul Lytton - Zafiro ID 10 Encore
14 Barry Guy New Orchestra - Inscape/Tableux Part VII


additional note

happy birtdhay to Roswell Rudd and Lisle Ellis :) !