Jonty Harrison and BEAST are the principal guests of Inventionen 2010. The seven concerts will take place from July 29, 2010 to August 1st at the St Elisabeth-Kirche in Berlin (Germany). amongst the almost forty works programmed are ten premieres by Jonty Harrison, Richard Barrett, Chris Tarren, Hans Tutschku, Shelly Knotts, and others, and a new version of Le travail du rêve by Francis Dhomont.

blogue@press-4220
press@4220
Casa del Popolo is once again ground zero for unique Suoni Per Il Popolo music festival.
Drummer and composer Michel F Côté is the custodian of the & label, a small imprint-cum-art project that is launching new CDs by the group Mecha Fixes Clocks and alto violinist Jean René to kick off the 10th Suoni Per Il Popolo festival on June 6. Côté agrees that the story of outside music in Montréal can fairly be divided into the era before Mauro Pezzente and Kiva Stimac opened the Casa del Popolo in 2000 and the era since then. “Before that, there was no real venue for improv music or for all sorts of avant garde,” Côté explains, “and when the Casa started, it was real good news. You could just hang out, and it was always fantastic music. Nobody else in Montréal is doing what they do.”
With its eclectic booking policy, the Casa, and later La Sala Rossa, have nurtured audiences knowledgeable about all kinds of outside music, from free jazz and electronic music to avant rock, folk, spoken word, cabaret and multimedia performances. Every year in June, Pezzente and Stimac give themselves a gift by booking a special series of concerts. They might regard the Suoni as their own reward, but as has been the case since the Casa opened its doors, it is the Montréal audience who benefits. As usual, this year’s Suoni Per Il Popolo festival is very strong on free jazz, including the first-ever Canadian performance by the legendary Globe Unity Orchestra, an ensemble founded by pianist Alexander von Schlippenbach in 1965. Concerts of musicians within the orchestra — the quartets of Evan Parker and Henrik Walsdorff and the Alexander von Schlippenbach Trio — will bookend the GUO’s June 20 date at Sala Rossa. And in addition to performing, Suoni regular Ken Vandermark will present an open rehearsal/workshop with the other members of the Vandermark 5 on June 16, and pianist Matthew Shipp will give a workshop on the processes of improvisation on June 15. Other performances in this series include Vandermark’s Frame Quartet, the trio of Kidd Jordan, William Parker and Hamid Drake, and Dutch cornetist Eric Boeren’s quartet. There’s an impressive electronic series that includes appearances by the likes of Didi Bruckmayr, Radian, Christof Kurzmann and Emeralds, and the avant rock scene is represented by Xeno and Oaklander, Oneida, Hair Police, Carlos Giffoni and the shamanistic collective No Neck Blues Band. It’s a very exciting lineup that reflects the ethos of being smart, inventive, adventurous and community friendly.
Doing more with less, Pezzente and Stimac are an example that all music presenters could emulate.
blogue@press-4191
press@4191
We suggest you check out Revue & corrigée #84 by Various artists, the latest addition to our shop.
blogue@catalogue-20100601
Dedicated to the magic of listening to music at night, the 9th Nuit bleue will take place on July 10, 2010 starting at 9pm and to end the following morning at 7am at the Saline royale in Arc-et-Senans (France). On the programme, amongst several others, are Rites d’oiseaux pensants by Dominique Bassal, and Styal and Nijo by David Berezan.
Zu den undogmatisch-offensten und mithin unberechenbarsten der kanadischen Elektroakustiker gehört zweifellos Pierre Alexandre Tremblay, und so überrascht es nicht, dass sein zweites Album (im Format DVD-Audio, incl. mp3) zum seltsamsten gehört, was mir in den letzten Monaten untergekommen ist. Oberflächlich führt der Titel nach einem Roman von Louis Hamelin in die Irre, denn bis auf die letzten zwei einigermaßen rasanten Minuten ist es ein eher nüchtern-ruhiges Werk, das er hier ums Spiel des kanadischen Free-Jazz-Schlagzeugers Stefan Schneider geformt hat. Aber kein trockenes, dafür steht die überaus farbige Ausgestaltung in zahlreichen elektronischen Texturierungen und Triggereffekten, mit denen sich Schneiders Schlagzeug (und Tremblays Bass) permanent in zusätzliche Dimensionen erweitern und sich von einer elektronischen kaleidoskopartigen Spiegelung in die nächste werfen. Das Besondere dabei ist nicht das eher brave Instrumentalspiel (das immer nachvollziehbar bleibt - hier wird nicht geschreddert), es ist das grenzenlose Vertrauen darauf, dass das Publikum einen Kopfhörer trägt und mitkriegt, dass das Klangbild keineswegs so dünn und locker ist, wie es oberflächlich wirkt, sondern bevölkert ist von feinstem, leckeren akusmatischem Gewebe.
blogue@press-4203
press@4203