24 Nov 11

SPIN Bettini Schild Lovens

Spin
Guy Bettini an der Trompete
Louis Schild am Bass
Paul Lovens am Schlagzeug

24 novembre 2011 ore 20.00

espacechallens13
Avenue d’Echallens 13, Lausanne

ore 18.00 Duo Berthet-Leimgruber
Gilles Furtwangler (lecture)

Spin suona una musica nuova che da sempre esiste, ci si dimentica subito che si tratta d’improvvisazione, si direbbe che i musicisti di Spin attingano da un repertorio arcaico che tutti inconsciamente conoscono ma che viene rivelato solo nel momento stesso della percezione. L’ascoltatore crea dentro di sè la musica di Spin, i musicisti propongono solo l’esperienza sonora.

Die Alchemie von Spin:
Spin spielt eine neue Musik, die es schon immer gab.
Der Zuhoerer vergisst sofort, dass es sich hier um improvisierte Musik handelt.
Die Spinmusiker scheinen aus einem ursprüngliche Repertoire zu schöpfen, dem wir alle nahe stehen, das wir aber noch nicht zu Ohr bekommen haben.
Sie berühren die archetypischen Klangwelten, die in uns schweben und transformieren sie in ein klangliches Kaleidoskop von Musikalität und Poesie.
Der Spinmusik lauscht man nicht nur, man erlebt sie.(W.Solinski)

Sporting a black suit and tie no matter what the occasion or outside temperature,
German drummer Paul Lovens is a much-loved and highly respected presence on the European improvising scene,
and since the mid-’90s, has also begun performing regularly in the United States as interest in the art of European improvisers increased stateside.
One of the earliest collaborative groups involved Lovens in a trio with Berlin pianist Alexander Von Schlippenbach and British saxophonist Evan Parker, and this turned into one of the longest-running steady groups in jazz, celebrating its 29th anniversary in 2001. The trio tours at least once every year and has released more than a dozen albums, some in a quartet setting with the addition of American bassist Alan Silva. The playing of Lovens in this setting is very typical of his musical approach. The drums are not only in their expected traditional jazz role as underpinning for saxophone, piano, or other normally perceived soloing instruments, Lovens frequently cuts above the rest of the band using techniques such as grinding the tip of a drumstick into the face of the cymbal, or he creates fascinating sound textures using notched wooden blocks, horse combs, and other paraphernalia. His sensitive improvisation techniques and great ability at interplay have placed him constantly in demand as a partner in improvising groups, and since the early ’70s, he has worked with a who’s-who of European improvisers such as bassist Peter Kowald, who 30 years later still picked Lovens as his favorite rhythm section partner, the large Globe Unity Orchestra under the direction of Schlippenbach, Swedish saxophonist Mats Gustaffson, trumpeter Toshinori Kondo, bassist Joelle Leandre, and many others.
In the mid-’70s he began his own vinyl label imprint, Po Torch, releasing a series of percussion duets with British drummer Paul Lytton, among other projects. Meticulous attention was paid to packaging and artwork, and one result was the album The Last Supper, a duet with Kondo, being chosen for a hard-cover coffee table volume collection of artistic album covers. In the late ’80s, Lovens performed with American freejazz giant Cecil Taylor as part of a series of collaborations involving Taylor with various European improvisers. This led to several years in the drum seat of the Taylor combo.

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