13:00 — Fylkingen (BAR), Torkelknuttsongatan 2 [map]
Alexander von Schlippenbach with Mats Almegård
15:00 — Kronobageriet, Sibyllegatan 2 [map]
19:00 — Fylkingen, Torkelknuttsongatan 2 [map]
Okkyung Lee & Rashad Becker
Joe McPhee & Graham Lambkin
Mark Sanders & John Edwards
Gram[m]ofon = Samtal + podcast + spelning – artister om de tio låtar ur musikhistorien som betytt mest för dem
Journalisten Mats Almegård i samtal med Alexander von Schlippenbach om de skivor som format hans liv och musik.
Tillsammans med en skivsamling är en skivspelare (eller en Gram[m]ofon) inte enbart en apparat som spelar musik. I kombination med skivorna är den också ett instrument som berättar en persons historia. Den personliga skivsamlingen säger en hel del om uppväxt, förälskelser, besvikelser, glädje, sorg, och passion. Skivorna är soundtracket till våra liv. Och de talar om vilka vi är.
Journalist Mats Almegård talks with Alexander von Schlippenbach about the records that have shaped his life and music.
A record player, or a Gram[m]ofon, is more than just a device that plays back music. Combine it with a record collection and you have a machine that plays back a person’s history. A record collection is a very personal thing, and when the headphones are not connected it might just gossip loudly about one’s childhood, infatuations, disappointments, joys, sorrows and passions. If a record collection could be said to be the soundtrack of your life, the record player might just tell us who you are.
Ellen Fullman has been developing her installation, the Long String Instrument, for nearly 30 years; exploring the acoustics of large resonant spaces with her compositions and collaborative improvisations. She has been the recipient of numerous awards, commissions and residencies including: a 2015 Foundation for Contemporary Arts Grants to Artists award; two Center for Cultural Innovation Grants (2008 and 2013); a Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and a DAAD Artists-in-Berlin residency (2000). Fullman has recorded extensively with this unusual instrument. Releases include: Through Glass Panes (Important Records, 2011); Fluctuations, with trombonist Monique Buzzarté (Deep Listening Institute), selected as one of the top 50 recordings of 2008 by the Wire and awarded an Aaron Copeland Fund for Music Recording Program Grant; and Ort, recorded with Berlin collaborator Konrad Sprenger (Choose Records), selected as one of the top 50 recordings of 2004 by the Wire. Fullman’s work was cited by Alvin Lucier in his Music 109: Notes on Experimental Music (Wesleyan University Press, 2012) and by David Byrne in How Music Works (McSweeney’s, 2012. Ellen has been invited to give the Distinguished Alumni Lecture for 2016 at her alma mater, the Kansas City Art Institute.
Lee is one of the most dynamic forces in improvised music today, a fearless and compelling musician whose playing incorporates a love of noise, extraordinary technique and elements from the outer fringes of contemporary composition. Originally from South Korea but now based in New York, Lee has collaborated with many of the leading figures in creative music today, including Christian Marclay, Thurston Moore, Wadada Leo Smith, Ikue Mori, Evan Parker, C. Spencer Yeh, Carlos Giffoni and Maja Rajtke. In 2013 she released ‘Ghil’ an LP of solo improvisations recorded direct to dictaphone by Lasse Marhaug that was widely hailed as the ‘noise record of the year’.
“Okkyung Lee distorts, disturbs and even deconstructs her instrument, to the point of rendering it unrecognisable. And the results are simply amazing.” – Joseph Burnett, The Quietus
Rashad Becker’s Traditional Music of Notional Species, Vol. 1. is one of the most singular recordings of electronic music of the 21st century – combining an intensely personal sound-world together with a highly developed narrative structure. Long sought after as a mastering and cutting engineer at Dubplates & Mastering in Berlin, his own recordings and live performances attest to a personal vision for sound and music that has little parallel.
“… [Joe Mcphee’s] magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits.” – Time Out New York
Joe McPhee is a deeply emotional composer, improviser, and multi-instrumentalist, as well as a thoughtful conceptualist and theoretician. McPhee’s first recordings as leader appeared on the CjR label, founded in 1969 by painter Craig Johnson, including the landmark Nation Time in 1970. He also had a long association with the Swiss label Hat Hut — which started in order to release McPhee’s music — and his solo playing and various transatlantic collaborations over the last decades has included both wildly joyous experimentation (including early usage of tape and electronics/ duos with synthesizer player Jon Snyder) and deep, re-imaginings of the jazz tradition.
Joe McPhee’s performance at First Edition will be the first public performance outside New York of a new collaboration with fellow Poughkeepsie resident Graham Lambkin.
Graham Lambkin is a multidisciplinary artist based in Upstate New York who first came to prominence in the early 90′s through the formation of his music group The Shadow Ring. Following the dissolution of The Shadow Ring Lambkin embarked on a series of striking and highly original solo releases, including Salmon Run (2007) and Amateur Doubles (2012), a critically acclaimed trilogy with experimental tape musician Jason Lescalleet: The Breadwinner (2007), Air Supply (2010) and Photographs (2013), and Making A (2013) a collaboration with renowned table-top guitarist and founding member of the AMM group, Keith Rowe. His latest release, Schwarze Riesenfalter sees Lambkin paired with Wandelweiser composer Michael Pisaro in a musical reimagining for the texts of Georg Trakl.
Lambkin also curates the Kye label, which, since it’s conception in 2001 has published audio work by contemporary artists such as Vanessa Rossetto, Malcolm Goldstein, and Matt Krefting, as well as archival collections from the likes of Henning Christiansen, Moniek Darge and Anton Heyboer.
Lambkin will perform twice at the Edition Festival: a duo with Joe McPhee on the Saturday evening at Fylkingen — only their second public performance — and a solo performance / reading at Rönnells Antikvariat on Sunday afternoon.
“I think John Edwards is absolutely remarkable: there’s never been anything like him before, anywhere in jazz.” – Richard Williams, The Blue Moment
John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Evan Parker, Sunny Murray, Derek Bailey, Joe McPhee, Lol Coxhill, Peter Brötzmann, Mulatu Astatke and many others.
Mark Sanders is a percussionist of rare invention, constructing precise yet unpredictable formations from an extended array of percussion instruments in a manner that reimagines notions of time. He has played on more than 120 recordings and performed with many renowned musicians including Wadada Leo Smith, Derek Bailey, John Butcher, Henry Grimes, Roswell Rudd, Sylvie Courvoursier, Sirone, Peter Brotzmann, Barry Guy, Otomo Yoshihide, Jah Wobble, Harold Budd, Bill Laswell, Sidsel Endresen , Charles Gayle, Peter Evans and William Parker. With John Edwards, they work in a duo and with groups including Evan Parker, electro acoustic composer John Wall, `Foils` with Frank Paul Schubert and Matthius Muller and groups with Veryan Weston, John Tilbury, Agusti Fernandez and Mathew Shipp.
“ubiquitous, diverse and constantly creative, drummer Mark Sanders always outdoes himself, whether playing with restraint or erupting like a dynamo.” Bruce L Gallenter, Downtown Music Gallery. NY