|
Sep, 27, 2007 Thursday :
Demetrius Spaneas USA
New Jazz
Demetrius Spaneas
Saxophone, clarinet and electronics
Agenda of the Program:
- "Magnolias & Speed" by Molly Thompson, for solo saxophone - a World Premiere!
- "Water Crossing" by Alex Shapiro
- "Music for Alto Saxophone and Electronics", by Pablo Furman
- "Interludes" by Demetrius Spaneas
35-40 minutes
Demetrios Spaneas
Classic/Modern multi-wind soloist/composer/recording artist Demetrius Spaneas shares his varied career between New York City and Boston. He has commissioned, recorded, and premiered works by many prominent composers including John Cage, John Harbison, Donald Martino, Bernard Rands, Gunther Schuller, Joan Tower and many others.
By now he has two solo recordings on Capstone Records, "When Wind Comes to Sparse Bamboo" (2003), and "From a Far-off World" (2006).
His major interests include combining improvisation within classically structured forms, work with electronics and video, and world music. He was a member of the Auros Group for New Music, the Boston Modern Orchestra Project, and the Harvard Group for New Music, as well as many other chamber and symphonic ensembles in the Northeast.
In demand as a guest lecturer/performer of New Music, he held conferences and arranged concerts at Harvard University, the California Institute for the Arts, Tanglewood, and the New England Conservatory, as well as other music programs and venues.
As a commercial performer, he shared the stage with many top acts, including the Funk Brothers (featured soloist, 2005-06), Ray Charles, Aretha Franklin, and many others. He is also a founder and leader of the world music ensemble BALKANASIA which combines music from the Balkans and Near East with jazz and rock, and co-director of the New York chamber group, the Sapphire Ensemble. Demetrius plays exclusively Gonzales Reeds (clarinet and saxophone). As a composer he is a member of ASCAP. Demetrius was given honorable rank Composer-in-Residence for the Bay Area Chamber Symphony based in Oakland, CA.
Saadet Turkoz/Anton Silaev (Turkey, Kazakhstan, Switzerland/Russia)
Improvisation
Saadet Turkoz – vocal
Anton Silaev – trumpet, electronics
Singer Saadet Torkez, now resident in Switzerland, was born in Istanbul in 1961 in a family of Uigur migrants from China. So, she inherited a rich historic mix of ancient traditions of Central-Asian highlands and the Marmara sea.
Through her improvisations (inspired mainly by melodic language of the Koran) and Turkish and Kazakh songs she tries to transform her reminiscences and ancestral memory of her nation. Her voice and music create unique images and sophisticated atmosphere that are beyond cultural borders
Besides her solo concerts, Saadet regularly performs in duos, trios or bigger formations with free-improvising jazz musicians - such as Martin Schuetz, Elliot Sharp, Eyvind Kang, Werner Luedi, Urs Leimgruber, Thomas Rohrer, Miya Masaoka, Norbert Moeslang, Andy Guhl, Peter Kowald, Gianni Gebbia, Ikue Mori, Carl Ruediger, Okkyung Lee, the Koch-Schuetz-Studer Trio, Pascal Schaer, Nils Wogram, Jaques Widmer, Mark Dresser, Fred Frith, the Black Sea Trio, Larry Ochs, Carl Stone, Xu Feng Shia, Peggy Lee, Mich Gerber, Peter SchŠrli, Fritz Hauser, Graham Haynes, Satoshi Takeishi, Alex Cline, Brent Arnold, Yagi Michiyo, Makigami Koichi.
Formations:
Duos:
Nils Wogram, posaune (Switzerland/Germany)
Martin Schuetz, cello (Switzerland)
Urs Leimgruber, sax (Switzerland)
Pascal Schaer, trombone (Switzerland)
Jaques Widmer, drum (Switzerland)
Elliott Sharp, git, sax (USA)
Okyung Lee, cello (Korea, USA)
Eyvind Kang, viola (USA)
Peggy Lee, cello (CA)
Xu Feng Xia, kuzheng (China/Germany)
Carl Stone, electronic (USA/Japan)
Miya Masaoka, koto (USA)
Trios:
Fredy Studer, drum and guest instrument (Urumchi-Uyghur Region/Switzerland)
Satoshi Takeishi, drum, Okkyung Lee, cello, (USA)
Mark Dresser, bass, Okkyung lee, cello(USA)
Larry Ochs, sax, Miya Masaoka, koto (USA)
Quartets:
Trio "what we live", Larry Ochs, sax, Lisle Ellis, bass, Don Robinson, drum (USA)
Trio Koch-Schuetz-Studer, Hans Koch, sax, Martin Schuetz, cello, Fredy Studer, drum, (Switzerland)
Quintets
"Blast" (Dirk Bruinsma, sax, (NL), Paed Conca, bass, electronic, (CH), Frank Crijns, git, (NL), Fabrizio Spera, drums, (I)
Anton Silaev (Russia)
Young, yet extremely successful composer, musician and performer. He's got an incredible service record in his scarcely 25. (Enclosed below)
Anton graduated from electric guitar department at musical school but finally he came about as a professional trumpeter. He mastered various instruments on his own including ethnic wind instruments: kalyuka, zhaleika, Japanese flutes, Arabian argul, Australian dijeridoo, Latin American flutes, wind harmonicas, block-flutes (including bass-flute), flugel-horn, and others.
2003 album «Mixing point Mockâa» was released by «Manas Records». This ethno-electronic project in collaboration with S. Starostin, Shobha Joshi, Mashrab Shierdil, Moiramo, Karina Moller was his contribution to The World Tea Festival
2004 participation in Radio CULTURE opening concert
2005 album "Music of Cosmic Divers" was released as a supplement to Leonid Tishkov's book "Divers 3", Gayatri
2005 work with Givan Gasparian resulting in 20-minute disk for Ararat Company.
He performed with "NETE" group, Guendos Chamzyryn (Tuva), Sergei Starostin, Sainkho Namchylak, Spooky Actions, Han Bennink, Alexei Borisov, Maxim Ivanenko and others.
By 2007 album in collaboration with Chamzyryn has to be released by LONG ARMS Records.
By now he composed soundtracks for more tan 10 documentaries and 5 feature films; the first one -- "Harvest-time" (dir. Marina Razbezhkina) -- won 16 awards and prizes (including musical awards) in Greece, Russia, USA, France and other countries.
Film "Ravine" by the same director won Tariverdiev Commemoration Prize "For the Best Soundtrack" at the prestigious Russian festival "Kinotavr-2007".
Soundtracks for documentaries:
SIMPLY LIFE dir. Marina Razbezhkina
VACATION dir. Marina Razbezhkina
1000 C dir. Irina Uralskaya
ABOUT SARAH and SVETA dir. Irina Uralskaya
CLONDiKA dir. Vladimir Popov
MIRACLES and MYSTERIES dir. Olesya Fokina
CHASING FOR ANGEL
SAUCHEK dir. Alexei Yazlovski
SNOW ANGEL dir. Tatiana Scabard
BEAST DAMNATION dir. Olga Chekalina
and others
Soundtracks for feature films:
2004 HARVEST-TIME dir. Marina Razbezhkina
2005 HUNTER dir.
2006 ORANIENBAUM. SILVER SAMURAI dir. Vladimir Kotta
2007 I'lll STAY dir. K. Oganesyan
2007 RAVINE dir. Marina Razbezhkina
Pacific 231 (France)
Album presentation
Experimental electronics
Pacific 231 - project of Pierre Jolivet French musician nowadays residing in Ireland. P-231 came into sight in early 80-s and belonged to the first wave of industrial groups. Early albums were released on the labels of Le Syndicat, Cause And Effect è Bunker Records. Really invaluable assistance in due time was rendered by American outsiders Psyclones with whom Æîëèâå recorded a pair of albums under the name Psy 231 released on their label Ladd-Frith.
The earliest album recorded almost 25 years ago and released quite recently on the label Old Europa Cafe became one of the first ones in power electronic style. "Thule Apocalypse", 45-minute piece, compared with today's leaders of this trend, sounds a bit unusual. It's more likely some transition period from old industrial school. But still it adheres to the main laws of the genre: harsh pulse of electronic modules, powerful psychological impact of the raw monotonous noise and multiple samples as musical events turning a listener towards the theme of The Second World War -- anthems, marches, waltzes, cabaret music and, of course, speeches, orders, commands, scanned slogans and appeals.
The next album "Unusual Perversions" which became a real rarity was produced about the same manner. Exploiting themes of fetishism and different sorts of perversions, it resembles early albums of Die Form and Blackhouse.
"Power Assume" (1987) is much more experimental in sound and appeals to quite another perception type -- in no way to some numb stupor and paralyzing fear but to complex balance of concentration and relaxation governed by the harmony of resonances and transitional processes. At the same time the album is highly organic and all-sufficient -- this is a thing in itself. The whole struggle occurs on the speculative level. You may even ignore it at the presence of such request…
Pierre is extremely exact in dealing with musical matter, slightly elucidating only those areas that do not bring danger whereas not flattering your ear. His interest concentrates mainly on sounds -- awkward, free of gloss but not free of sonic charm -- that could be emitted by some fossil beasts in death-combat.
Recently Pierre's activity has distinctly decreased and the style has undergone substantial changes, moving far from noise music into the sphere of experimental electronics and synthetic sound. His single "Heuristic Occlusion" released in 2001 in a collection circulation (100 copies) on the Austrian label Syntactic contain two pieces of refined computer music, spectral variations of minimalist sequences. Album "Ethnicities" released in 2006 is the first after lengthy interval lasting for god knows how many years.
Suffice it to say that material for him has been recorded within the last 20 years! Audition time of this 50-minute trek as if embraces the whole epoch: urbanistic scenery gives place to natural tropical landscape, pseudo-ethnic rhythm dissolves in psychedelic ambient. The album was released in three formats (CD, vinyl and DVD) by a new French label Rotorelief known by the Tribute-to-John Balance.
Pierre's interest to ethnic music finds its extension in the last album "Palestine" recorded a month ago on Old Europa Cafe in collaboration with Rapoon. This is a kind of ethno-trans suite similar in esthetics to albums of Muslimagauze (the album, in fact, is a tribute to Brin Jones). It was released in a special package and its presentation will take place within Pacific-231 Russian Tour together with a new video-performance program "Stiffle" not yet released anywhere.
September,28:
Odd Appetite (USA)
Novel music
Based in New York City, Odd Appetite is a duo of performers/composers Ha Yang Kim (cello) and Nathan Davis (percussion). Unique instrumental staff indeed! They both received classical education in American and European conservatories. Odd Appetite composes and performs their own music as well as works of other composers. They offer music that is both subtle and visceral, complex yet unified by narrative and gesture. Critic Kyle Gann praised Odd Appetite in the Village Voice as "expert virtuoso players", and David Cleary wrote in "21st Century Music": "The splendid duo Odd Appetite displayed careful chamber music interaction, a well-tuned ear for ensemble balance, and technical dexterity to burn".
Odd Appetite often uses electronics to extend and exaggerate acoustic properties of their instruments. Imagine giant gongs, microtonal bells, drums, pipes, and hammered dulcimer heard alongside a de-tuned and amplified cello, processed with guitar pedals and electronic effects, all played with dazzling virtuosity, passion and spirit.
Their interest to studying and performing music of Bali and of South India (Karnatic music) are of special interest. They traveled the world in search of new sounds and languages, and their music is a manifestation of the zeal that we have for the music of today and this world.
Odd Appetite made its debut at Carnegie Hall as soloists with Gamelan Galak-Tika in Evan Ziporyn's Amok, and were featured in the 2007 Bang on a Can Marathon. They collaborated with Christian Wolff and the Downtown Ensemble in a series of NYC performances of Wolff's seminal Exercises, worked closely with Ziporyn on a number of projects, and recorded with Larry Polansky for his Four-Voice Canons disc from Cold Blue Records.
The duo has toured the U.S., The Netherlands, Belgium, Austria, Germany and Turkey. In Summer 2005 they toured Bali, playing with Galak-Tika in the Bali Arts Festival in Denpasar, the Kuta Festival, and in villages around the island. They played at such venues as The Salvador Dali Museum, Roulette, and Galapagos. Odd Appetite have been guest artists at The Boston Conservatory, Brown, Harvard, Brandeis, Wellesley, Dartmouth, and other colleges in the Northeast, where they have also been in residence and conducted educational outreach.
CDs:
Ha-Yang Kim - Ama (Tzadik)
Nathan Davis - Memory Spaces (Mytoeses Music)
Non Sequitur (Karnatic Lab Records)
Festivals:
Bang on a Can (New York, NY)
Bali Arts Festival (Denpasar, Indonesia)
Festival de Musica Electroacoustica (Havana, Cuba)
CyberArts Festival (Boston, Massachusetts, USA
Ought-One Festival (Montpelier, Vermont, USA)
Festival of Living Music (St. Petersburg, Florida, USA)
Bonk Festival (St. Petersburg, Florida, USA)
Musicians:
Evan Ziporyn
Christian Wolff
Lee Hyla
Larry Polansky
Louis Andriessen
Projects:
Music of Odd Appetite
Christian Wolff Exercises
American Experimentalism
Ernst Reijseger (Netherlands)
Free Jazz, novel music
Cello
Ernst Reijseger (1954), enchanted by diversity of musical forms and trends since his early years, readily performs with musicians from vastly differing cultures. Frequent guests in his projects are outstanding traditional musicians: percussionist Sergine Gueye and singer Mola Sylla from Senegal, Sardinian ensemble "Tenores e Concordu de Orosei", Turkish musicians, drummers from Iran, percussionist Sergine Gueye and singer Mola Sylla . A propos, Molla Sylla recorded two brilliant albums ("Vershki da Koreshki" & "SETU") at the Long Arms Studio.
Ernst also played/recorded with: Burton Greene (1969), Sean Bergin (1975), Martin van Duynhoven, Derek Bailey, Alan Purves and Franky Douglas, Trilok Gurtu and Yo Yo Ma. He was a member of the Theo Loevendie Consort, the Guus Janssen Septet, the Arcado Stringtrio, Trio Clusone with Michael Moore and Han Bennink, Misha Mengelberg’s Instant Composers Pool, the Gerry Hemingway quintet, Trio with trumpetist Eric Vloeimans and guitarist Anton Goudsmit, duo with pianist Franco d' Andrea, clarinetist-soprano saxophonist Louis Sclavis, , accordeonist, banjo, guitar,mandoline, kaval, and pedal steel guitar-player Stian Carstensen, duo and trio with masterpianist Simon Nabatov and trio with the Amsterdam String Trio, trio with Stian Carstensen and drummer Jarle Vespestadt, quartet with bassplayer Mats Eilertsen, clarinet-saxophonist Fredrik Ljungkvist and drummer Thomas Strønen.
Extreme breadth of his interests is highly estimated by experts and audience.
In 1985 he won the Boy Edgar prize.
In 1995 he received the "Bird-Award" at the Nordsea Jazz Festival.
Ernst Reijseger composes soundtracks for motion pictures (Werner Herzog) and documentaries.
Cellist Larissa Groeneveld and pianist Frank van de Laar with Reijseger as third 'free agent' perform his written music. (cd: Do You Still, label Winter & Winter).
Ernst started to play cello at the age of 8, so he spends much time playing for children in schools and theatres, and gives occasional cello-workshops.
Discography
Cd selection of the last 10 years:
1997 - Ernst Reijseger Colla Parte
label: Winter&Winter, distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (F) etc.
1999 - Ernst Reijseger Alan ‘Gunga’ Purves Tenore e Cuncordu de Orosei "Colla Voche"
with Alan Purves Drums/percussion and the Tenore e Concordu de Orosei
label: Winter&Winter, distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (F) etc.
1999 - Moondive III (Double cd)
Live concert with Ray Anderson (USA) tb; Mola Sylla (Senegal) voice; Eddie Veldtman (Surinam) dr; Lesley Joseph (Curaçao) b; Michel Godard (France) Tuba; Ruben van Roon (Holland) dj + perc
label: VPRO EIGENWIJS, distr.: VPRO Broadcasting Hilversum - Holland
2000 - Amsterdam String Trio Winter
Amsterdam String Trio
Compostions of Maurice Horsthuis
Maurice Horsthuis, viola; Ernst Glerum, double bass
label: Winter&Winter, distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (F) etc.
1979/2001 - Sean Bergin Ernst Reijseger Mistakes
Sean Bergin, s-sax,t-sax, flute & pennywhistle
Org label: Broken Records (now DATA Records)
remarks . Reissued: 2001
distr.: datarecords
1982/2002 - Ernst Reijseger Alan ‘Gunga’ Purves Cellotape - Scotchtape
perf. duo with Alan Purves, dr./perc
label and distr: Data Records 822
remarks: Reissued: 2002
2001 - Kakyoku
Music of Fumio Yasuda with Chamber orchestra
label: Winter&Winter
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Harmonia Mundi (France) etc.
2001 - Ernst Reijseger Alan "Gunga" Purves TA
Duo with Alan "Gunga" Purves, live in Santa Barbara 1987
label: NIMBUS WEST RECORDS
Recorded 1987
2000 - Gräwe Reijseger HemingwayCounterfactuals
Georg Graewe, p; Gerry Hemingway, dr
label: Nuscope
2002 - Ernst Reijseger Franco d'Andrea I love you so much it hurts
Franco d'Andrea, p; Ernst Reijseger
label: Winter&Winter
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France) etc.
2003 - : Maria Pia de Vito Tumulti
Maria Pia de Vito, voice; Patrice Heral, dr/perc; Paul Urbanek, p
label: Manifesto rec.
2003 - : Ernst Reijseger, Mola Sylla Serigne CM Gueye JANNA
Trio Mola Sylla, Serigne Gueye, Ernst Reijseger
label: Winter&Winter 910-0942
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France) etc.
2003- : Stian Carstensen Backwards into the Backwoods
Trio Mola Sylla, Serigne Gueye, Ernst Reijseger
label: Winter&Winter
distr.: Edel Contraire (D, I), Harmonia Mundi (NL)), Allegro (USA), Abeille Musique (France) etc.
2004 - : Audiofilm – Der Kastanienball
Wolfram Berger [story teller]: Nicolo Machiavelli
Jean-Louis Costes [vocals, piano]: Alexander VI.
Cristina Zavalloni [vocals]: Giulia la Bella
Sabrina Khalil [vocals]: Lucrezia Borgia
Jim Thirlwell [theremin, electronics]: Cesare Borgia
Sadiq Bey [voice]: Girolamo Savonarola
Theo Bleckmann [vocals]: Martin Luther
Musicians:
Noël Akchoté [musical director, guitar]
Steve Beresford [hammond organ, electronics, pocket trumpet, voice]
Lorenzo Ghielmi [church organ]
Alan »Gunga« Purves [drums, percussion, tubes]
Ernst Reijseger [cello, percussion, voice]
Herb Robertson [trumpet]
Fumio Yasuda [piano, melodica]
Gamba quartet »Il Suonar Parlante« with Vittorio Ghielmi, Rodney Prada, Fahmi Alqhai, Cristiano Contadin
label: Winter&Winter
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France) etc.
2004 - : Mats Eilertsen Turanga
Mats Eilertsen , Fredrik Ljungkvist, Thomas Strønen, ernst reijseger
2005 - : Mats Eilertsen Flux
Mats Eilertsen , Fredrik Ljungkvist, Thomas Strønen, ernst reijseger
2005 - :Continuum
Trio Georg Gräwe, Gerry Hemingway, Ernst Reijseger.
label: Winter&Winter
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France) etc.
2006 - : Vittorio Ghielmi Full of Colour
Quartetto Italiano de Viola da Gamba Il Sonar Parlante
label: Winter&Winter5 pieces by and with ernst reijseger
distr.: Edel Contraire (D, I),Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France)
2006 - : Requiem for a Dying Planet
Filmsession for Two Werner Herzog films:
The White Diamond and The Wild Blue Yonder
label: Winter&Winter
Mola Sylla and the Tenore e Cuncordu de Orosei, ernst reijseger .
distr.: Edel Contraire (D, I),Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France)
2007 - : Do You Still
Larissa Groeneveld – cello, ernst reijseger, Frank vand de Laar - Piano label: Winter&Winter
Mola Sylla and the Tenore e Cuncordu de Orosei, ernst reijseger .
distr.: Edel Contraire (D, I), Harmonia Mundi (NL), Allegro (USA), Abeille Musique (France)
Onde (Belgium)
Noise
ONDE will be:
Greg Jacobs (B): violin, electronics, strings
Marc Wroblewski (B): strings, metal
Timo Van Luijk (B): guitar, tape feedback
Marcelo Aguirre (ARG): drums, percussion, voice
ONDE was founded in October 2006.
The core members of ONDE, (Timo Van Luijk, Marc Wroblewski and Greg Jacobs) are all former participants of now defunct Noise-Maker’s Fifes.
Timo Van Luijk took an active part in various musical projects: Asra with Raymond Dijkstra, In camera with Christoph Heemann, with Kris Vanderstraeten, No Neck Blues Band and Noise-Maker’s Fifes. Besides that he has played with Mirror and produced several solo releases as Af Ursin.
Greg Jacobs and Marc Wroblewski cooperated with Noise-Makers Fifes for years. During 20 years of its lifetime Noise-Maker’s Fifes – often labelled as an isolationist band - gained a strong reputation of a live band. With the death of founding member Geert Feytons Noise-Maker’s Fifes was buried and ONDE created.
Marcelo Aguirre recently joined ONDE. Marcelo is a self-taught percussionist and vocalist. He plays music in a highly distinctive manner manifesting a wide spectrum of influences ranging from spacious, delicate pulsation, to bursts of pure tone colour into free music or charged noise, with a focus on continuous sound and changing dynamics. He worked with such artists as Michael John Fink, John Duncan, Z’EV and Ulrich Krieger.
Whereas Noise-Maker’s Fifes often experimented with multi media, ONDE is a pure musicians collective, were improvisation takes a central role. ONDE could be labelled as a “free musicians' collective”, where the musicians can play whatever they want, whenever they want.
Although no rules, conventions or limits are imposed, the music ONDE produces could be clearly labelled as experimental, and ranging from psychedelic to drone music, sometimes even minimal, with regular outbursts of pure noise. As with all improvisational music, the direction of the music is guided by the energy of the moment itself and is, therefore, by definition unpredictable.
ONDE uses acoustic (sometimes prepared) as well as electronic and self-made instruments.
The release of their first album is scheduled for September 2007.
ORNAMENTY
Ruiz, Voronovsky, Borisov (Spain, Russia)
Presentation of «Ornaments» album (LONGARMS records)/ kind of a dark-ambient with trans rhythms...
Miguel Ruiz - cassettes, audio-software, organ, synth
Alexei Borisov – drum-machine, synth, bass-line, guitar, vocals
Eugene Voronovski - buzz-violin, sound cover-up's, drum-machine, vocals
We've been working at the distance by mail, as a genuine group, keeping mail-art traditions of the 80-s
CISFINITUM
CISFINITUM
CISFINTIUM is an ambiently noisy project of composer Eugene Voronovski experimenting within ten years in troubled waters of dark-ambient and noise.
Cold boundless landscapes of ruined worlds, Abyss of the human consciousness, divine unconsciousness and the rest of Russian metalanguage came true in this doomsday music.
Sound extraction mode is chosen in advance. In the course of experiment, welcomed are: Soviet analogous synthesizers, digital noise, prepared electric violin, chimes, and all possible religious and ideological doctrines.
The number of C.'s cd- and vinyl-releases is impressive, including ambient-n-noise with awesome Rapoon, remixes on New Blockaders è Maeror Tri. All-European press was really chopped out by some of its fulfillments. In 2005 Cisfinitum deserved benediction for solo-service in the Bremen Cathedral by the happy thought of the Reiher Electronischer Musiek festival.
MIGUEL A. RUIZ
Born 1964 in Madrid. Spain
First experiments with tapes & synths around 1981
Several cassettes published in Spain (via Toracic Tapes label) and other countries, under various pseudonyms, from 1982 to 1989.
He composed a legendary cassette "LA CAMARA GAMMA" under his own name for the ESPLENDOR GEOMETRICO label, in 1989. this same year he collaborated with the electronic artist Hector Hernandez for the "Han Llegado los Robots" cassette, many years after released on CD (2005), the first "Batan Bruits" edition.
First vinyl “Encuentros en la Tercera Edad” (Hamburger Musikgesellschaft.1991) produced in Germany by Asmus Tietchens.
Contribution to “AUDIOSCOPE” (1992), a CD compilation of young electronic composers from Madrid. Miguel participated in a concert arranged at Reina Sofia Museum (Madrid).
In 1994 it “ORFEON GAGARIN: Contestacion Capilar” was released (Hyades Label), a CD sampler of pre recorded tracks from the “cassette” period.
Collaboration with Siegmar Fricke for the “Efficient Refineries” electronic project. One track was included into the Spanish compilation on CD “Iberica Electrónica” (Brainwaves label). Two new releases on CD in 2006: Nitideath (Simple Logic) and Epinervio (Menstrual Rec. )
Some contributions : "Dedication II", international CD-compilation (Artware -Germany) and "Realidade Virtual", in vinyl, both in industrial-experimental manner.
Techno-project “EXHAUSTOR” starting in 1995 with the release of “Coaxial” CD. (Linea Alternativa Label).
Some live-acts in Madrid, Leon,Barcelona (Sonar festival), Moscow & St. Petersbourg (Febr.2006) and Buenos-Aires, Argentina (1999, 2006)
2004. Some concerts as VENTRAL METAPHOR (Deep Psychoplasmic Sound)
2005. "Han Llegado los Robots", a cassette from 1989 by Miguel Ruiz & Hector Hernandez, is released on CD , the first release of a new label: "Batan Bruits" where some re-editions of old material are in project, like ORFEON GAGARIN "Kedr", 1987 or "Vasarely",
1991.
"GROSOR", a new CD from Miguel A.Ruiz has been released in Russia by "Monochrome Vision", an experimental-music label based in Moscow.
"ORNAMENTS", collaboration with E.Voronovski & A.Borisov scheduled for release in Russia by Long Arms (2007)
Also New reissues : KEDR (on Batan Bruits) , NEUMOTORAX s.XX (on Menstrual Rec.)
www.myspace.com/orfeongagarin
www.batanbruits.com
ALEXEI BORISOV
Alexei Borisov (b. 1960, Moscow)
Musician, composer, producer, journalist, happening organizer
Lives and works in Moscow
1983 graduated from the Moscow State University (History Department)
1980–1981 guitarist of the first Russian new-wave band The Centre
1981–1984 vocalist/guitarist of the mod band Prospekt
1985 formed (with Ivan Sokolovsky) the first Russian techno-industrial band Notchnoi Prospekt (still active)
Since 1992 member of F.R.U.I.T.S. duo (with Pavel Jagun)
Since 1993 collaborates with Moscow video artists Roman Anikushin and Alexandr Sidorov
Since 1994 collaborates with the Helsinki-resident musician Anton Nikkila
Since 1994 organizes and curates musical and audiovisual events in Moscow and elsewhere in Russia
Since 1994 works as a dj at different clubs and on radio stations
Since 1995 creates music for the Moscow video/performance art group Sever
Since 1997 collaborates with sax improviser Serguei Letov (Gosplan trio, New Russian Alternative)
Since 1997 producer and musician of the experimental ethno-electronic group Volga
Since 2000 collaborates with KK Null (Japan), Jeff Surak (USA), Tania Stene (Norway), Leif Ellgren (Sweden), Franz Pomassl (Austria), Gilles Aubry (Switzerland), Government Alpha (Japan), The New Blockaders (UK) and many others.
Since 2005 collaborates with Moscow based video-art duo INN (Nikita Tzymbal, Natalia Poloka)
More biographic info, links to interviews, reviews and audio:
www.nbresearchdigest.com/borisov
Solo recordings:
"På köket" (CD-R, Insofar Vapour Bulk, Russia, 2000)
"Before the Evroremont" (CD, N&B Research Digest/Avanto Festival, Russia/Finland, 2002)
Alexei Borisov “Polished Surface Of A Table” (CD, Electroshock, Russia 2004)
Notchnoi Prospekt:
"Sugar" (LP, Accelerating Blue Fish, Sweden, 1990)
"Asbastos" (LP, SNC, Russia, 1992)
"Music for dance" (CD, BSA, Russia, 1993)
"Acids" (CD/MC, RDM, Russia, 1995)
"Gumanitarnaya zhizn" (CD/MC, Electric, Russia, 1996)
"Koncert v Vilniuse 1988" (CD-R, Grief Recordings, Russia, 2000)
“Live in DOM” (CD-R, Pentagramma, Russia 2002)
“Novye Fiziki” (CD, Random Music, Russia 2004, live recordings from 1987-88)
F.R.U.I.T.S.:
"Electrostatik" (CD/MC, Exotica, Russia, 1997)
"Acid report 96" (CD-R, Grief Recordings, Russia, 2000)
"Studio Recordings vol.1" (CD-R, N&B Research Digest, Finland/Russia, 2000)
"Jakuzi" (CD, Exotica Lights, Russia, 2000)
"Lakmus" (CD-R, Xerxes, Japan, 2001)
”Forbidden Beat” (CD, Laton, Austria, 2004)
Volga:
"Volga" (CD, Exotica, Russia, 1999)
“Bottoms up!” (CD, Exotica, Russia, 2003)
“Concert” (CD, Sketis Music, Russia, 2003)
“Three Fields” (CD, Volga/Sketis Music, Russia, 2004)
“Selected Works” (CD, Volga/Lollipop Shop, Germany 2005)
“5” (Remixed) (CD, Sketis Music, Russia 2006)
“Pomol” (CD, Lumberton Trading Company, UK 2006)
Other projects:
F.R.U.I.T.S. & Sa-Zna: "Amber Rooms" (CD, Exotica/GMB R.I., Russia, 1998)
Novaya russkaya al'ternativa: "Uverennost' v nevidimom" (CD-R, Pentagramma, Russia, 1999)
Borisov, Letov: "Faust@Ekaterinburg" (CD-R, Pentagramma, Russia, 1999)
Borisov, Letov, Lipatov: "Faust. Nizhni Novgorod, 1999" (CD-R, Pentagramma, Russia, 2000)
Joint Committee: "Rosenkranz Sessions Vol. 1" (CD-R, Pentagramma, Russia, 2000)
Spies Boys & Notchnoi Prospekt: "Live in Bunkr 2000" (CD-R, NNRecords, Russia, 2000)
Spies Boys & Notchnoi Prospekt: "Live in Bunkr 2001" (CD-R, NNRecords, Russia 2001)
Borisov, Letov, Lipatov, Norvila: "Faust v Moskve" (2CD-R, Pentagramma, Russia 2001)
Alexei Borisov & Anton Nikkila: "Live@Cafe9" (CD-R, Planktone, Russia, 2002)
"Serguei Letov – Alexei Borisov – Anton Nikkila" (CD, Hor Music, Russia, 2002)
Letov – Borisov – D.A. Prigov: “Concert v O.G.I.” (CD, Otdelenije vihod, Russia, 2002)
Alexei Borisov & Jeffrey Surak: “Ulitsa Novatorov” (mini-CD-R, The Locus of Assemblage, UK, 2003)
Alexei Borisov & KK. Null: “Xenoglossia” (CD, Insofar Vapor Bulk, Russia, 2003)
Letov-Borisov-Sokolovsky :“Suprematizm Project” (CDR, Pentagramma, Russia, 2003)
Alexei Borisov, Daruin (aka Kazuya Ishigami) and Comforter (aka Alexander Alexeev):"How To Use Friends As Organ Donors" (split CD-R, Spirals of Involution, Russia, 2003)
Alexei Borisov & Anton Nikkila: "Typical Human Beings" (CD, N&B Research Digest, Russia/Finland, 2004)
Finnexport 2003 Tour feat. Pan sonic, Pink Twins, Alexei Borisov and Anton Nikkila (split 2CDR, Spirals of Involution, Russia 2005)
The New Blockaders/Gosplan Trio “Sound Sketch For Raging Flames” (CD, Klanggalerie, Austria, 2005)
Bogatiri (Violet, Alexei Borisov, Michael Gindreau live in Russia 2003) (CD, Zeromoon, USA, 2005)
Alexei Borisov & KK Null “Xenoglossia 2” (CD, Electroclub, Russia 2006)
Compilations (as a solo artist):
22-Pistepirkko: "Zipcode - 15th Anniversary remix&remake compilation album" (CD, Bare Bone Business/Spirit, Finland, 1996)
"Avanto 2001" (CD, Avanto Festival, Finland, 2001)
"Prototype" (CD, Laton, Austria, 2002)
"Dich Avangarda" (CD, Insofar Vapour Bulk, Russia, 2002)
"Nautik" (CDR, Laton, Austria, 2003)
"Exotica vs. The Beatles, The Black Album” (CD, Exotica, Russia, 2003)
"Dissolution Tapes. The MCE Remixed". (CD, Zeromoon, USA, 2004)
"Ilios – Encyclopedia – RW" (CD, Antifrost, Spain, 2004)
Bulldozer 3 (CD, Fulldozer, Russia, 2004)
“Go-To-Cat-Man-Do” (CD, MonotypeRec, Poland, 2005)
Culmination (CD, Laton, Austria, 2005)
Volga “5” remixed (CD, Sketis music, Russia 2006)
Viva Negativa (Tribute to The New Blockaders) (4LP, Vinyl On Demand, Germany, 2005/06)
It Just Is. In Memoriam: John Balance (CD, Fulldozer and Nocharizma, Russia, 2005)
Yokomono 03 (LP, Staalplaat, Germany 2005)
September, 29:
"My Grandma" , feature film, director Koteh Mikaberize (Georgia, 1929), live dubbing by Beth Custer (USA)
"My Grandma":
"A satirical comedy deriding protectionism in the Soviet public institutions. One of the most vital anti-bureaucratic grotesques in the history of the Georgian cinematography of the 20-s. All-Union distribution launched in 1976". ("Omitted Cinema. 1924-1953.", 1995).
Beth Custer Ensemble (USA)
Mark Calderon - double-bass
David James - guitar
Dina Masabi - violin
Beth Custer - clarinet, keyboards
Jessica Ivrey - cello
Ian Jacson - percussion
Chris Grady - trumpet
A dynamic collage of American folk, blues, modern classics, jazz and world music was produced for "My Grandma" by Beth Custer, clarinetist and composer from San-Fransisco. She composes music for films, TV, theatre and dance. She is one of the founders of The Club Foot Orchestra (Serguei Kuriokhine performed with it in early 90-s), Trance Mission, Clarinet Thing, Eight Mile Beach, and Doña Luz 30 sos. She's got her own recording label.
Her performance is supported by the grants ofTrust for Mutual Understanding and Mid Atlantic Arts Fund Grand.
Tom Waits for Nobody (Singapore)
Leslie Lo - vocal, acoustic and electro guitar
Zai Kuning - vocal, acoustic and electro guitar
Yuen Chee Wai - piano
Zai Kunning - musician, artist and writer. His work is a highly promising alternative.
Chee Wai - designer, photographer
Lesli Lo - singer and composer widely known in Singapore. He is the leader of the OBSERVATORY group.
Sounds transforms from deep and dark melodies to minimal, to buzz, to noise, to psychedelics, to low-frequency phonation, to atonal piano, to folk and further… In some sense, we return to the vanguard
Tom Waits for Nobody
The name of the performance is called TOM WAITS FOR NOBODY by a group of musicians. The work was performed at The Arts House in 2006 as part of our second anniversary events.
Here is a description by one of the musicians: “the sound traverses from innocent and dark melodies, to minimal sounds, to drone, to noise, to some psychedelic, to low sub frequencies, to
atonal piano, to folk and more..... in a certain way, perhaps it can be said that we have put some feelings
back to the avant garde.” and here’s a website on it: http://www.ferret.com.sg/mp3/tomwaitsfornobody.m4a
These performers are very well-known in Singapore:
Zai Kuning: he is a multi-faceted artist in that he does performance art, music as well as visual art and also writes. He has been active in the arts scene here for a long time and I suppose in a way, you could call the work which he does as being “alternative” and constantly challenging. He has been involved also in many different productions and worked quite extensively in Japan.
Chee Wai: he is another multi-faceted artist (designer, photographer and sound artist) who is equally talented in both music and design. He designed the logo for the Singapore representation at the Venice Biennale this year and he is also a sound-artist. We worked with him actually last year for our project Spotlight Singapore in Tokyo. I believe we passed you a copy of the CD of the work we put up in Tokyo: the artwork for the CD is entirely designed by him. He has also done sound design for dance, film and TV / radio.
Leslie Low: is a very well-known singer-songwriter in Singapore and he has a following here. He did a launch of an album at The Arts House and the room was packed – standing room only and we had to turn away some who came late because there was truly no more space in the room for his performance. He is the frontman for a popular group here called Observatory.
All three performers too have done solo work and are soloists in their own right.
Keith ROWE (Great Britain)
Improvisation, noise, novel music
Keith Rowe, British artist and guitarist from AMM, is one of the most active and energetically endowed modern musicians. Though he is well over 60, he records tons of music permanently participating in international festivals, one of them, AMPLIFY, being patronized by him together with John and changing venues every year. Keith Rowe, a man of firm principle, has devoted himself mainly to one thing -- to cultivate a special position of AMM as of cultural phenomenon without prejudices and repertoire but with strict and consistent guideline.
Keith Row has rejected repertoire, technique, artistic taste, author's hand and all the rest things that have to do with individualism in arts. Within long years he strived for eliminating consumer aspect in music graphics. It means that there is nothing to catch hold of in his works, his creations can't be characterized straight by the way they "sound" -- they are between the lines or simply lack. In other words, Rowe's interest has, one and for all, transformed from esthetic to ideological one. For all this, he insists on the necessity of individual approach -- an artist ought to be a full-sufficient and stand-out unit and never stop at the stuff found. To obtain reputation of a stable person you have to change yourself every single moment. Since definite moment of time he ceased to tune his guitak focusing on its non-guitar properties. Now his working methods are beyond enumeration, but are they of any interes? Of substantial interest is the fact that these strategies becomes a product of continuous search and long history which, on one hand is based on the principles of strict limitations and, on the other, exposes alive, curious and open mind standing behind. AMM exerted fundamental influence upon the flow of events in vanguard. In 1960-70 the collective evolved by means of philosophic and political doctrines and views: Zen, Daoism, Maoism, pop-art… AMM arised as a complex, complicated phenomenon absorbing a plenty of ideologies and concepts, elucidated its own underlying ideological system/basis (by the way, nobody except AMM knows what "AMM" means). This system hosts so called "new music" (Neue Musik), but it's only a single verge of their general philosophy. As known, for example, AMM always considered themselves as some interaction of four elements: three participants of the collective and the group as an independent element.
They were, in fact, the first improvisers whose music sourced from independent and free of each other sounds sound layers; they were one of the first to use silence and musical varieties of the "found objects" (object trouve) -- for example, radio simply switched on in the course of performance, forcing the total collective to reconcile with it, to launch something, to learn to interact (remember, in this connection, Marcielle Duchan's pissouirre, or a bike wheel).
Keith Rowe, John Tilbery and Cornelius Cardew were communists, the group performed its rapidamente due to their political positions. Any new idea was transformed through the prism of the collective view, it took a new form and affected music. This principle works nowdays: whereas attention of the most electro-acoustic projects is focused upon sound parameters and performance, all survived AMM-members (Cornelius Cardew perished in 1981) proceed their work under the influence of ideologies, ideas concepts produced as far back as in the middle of the previous century. John Tilbery to this very day adheres to extremely left beliefs and boycotts America claiming that he'll never set foot in there.
Keith Row haven't got any musical education, instead he is a professional artist. Perhaps, therefore, his musical ideas are so "non-musical" and so "artistic" in the broad sense. Here is an indicative passage from his interview (on-line magazine "Paris Transatlantic"): "What is my actual Self? What I need to express? I've been reflecting on this issue about eight years long, permanently turning over to what could it be, and suddenly I caught it. Look at the American painting school, extremely provincial in the XIX century. They really longed for something original but they simply had no idea about "how". The clue was to get rid of the European painting traditions. But what has to be sacrificed, how to fulfill it? And Jackson Pollock did it. He simply rejected technique. How could I reject technique? Simply by laying down my guitar on the table in front of me! Changing by this the angle of perception: from the outer to "up-down…"
September, 30: | 
