Member since 2009.
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Drummer/composer/producer, born in Zambia, British nationality, resident in Holland, created his own 'voodoo-jazz' style.
From 1975-83 drummer in all played Gijs Hendriks' (NL) groups from trio to 12-piece, and played and recorded with amongst others, Slide Hampton (USA), Kenny Drew (USA), Raul Burnet(CUR), Sonny Grey (USA), Siggi Kessler (D), Michel Herr (B), Michel Grailler (F), Joe Diorio (USA), Jan Akkerman (NL), Wim Overgaauw (NL), Stan Tracey (GB), Kenny Wheeler (CAN).
Founded own label SWP Records in 1986. Led own group Sharp Wood from 1986-96. Other own groups: octet Utrecht Deep Artment 1997-99, quintet CapeAbility in 2000, sextet Trendy 3D Junk in 2000-02, solo concerts Gongs And Bells in 2002-3, sextet African Abstractions in 2004-05, various other projects and composition commissions. Initiator Rhythm Orgy series in Utrecht, 2008-'11, searching for a new pan-african music. Sextet TranceMission in 2009, combining jazz, punk, africa.
Also played in the André Jaume(F)/Jean-Marc Montera (F) Quintet, in the quintet Vogelvijf led by Tjitze Vogel (NL), , in the Dick de Graaf (NL)/Serge Lazarevitch (F) Quartet, and the sextet MOT led by Steven Kamperman (NL). In own groups played and recorded with amongst others: Broer van den Bogaart (NL), Hans Hasebos (NL), Albert Veenendaal (NL), Jogi Gillis (SUR), Michiel Borstlap (NL), Ben Gerritsen (NL), David Tronzo (USA), Vitold Rek (PL), Michael Moore (USA), Michel Massot (B), Marianne Pousseur (B), Michel Godard (F), Mark Lotz (D), Tjitze Vogel (NL), Paul Weiling (D), Konkie Halmeyer (CUR), Kofi Ayivor (GHA), Ousmane Seye (SEN), Jeroen van Vliet (NL), Zoumana Diarra (MALI), Rick van Heerden (SA), Kamal al Hors (MAR), Patrick Votrian USA), Abdoulaye 'Oké' Sène (SEN), Mamour Seck (SEN), Layba Diawara (GUI)
Compiled and produced 22-cd series 'Historical Recordings by Hugh Tracey' of African music from the 40s and 50s, released on SWP Records. Made own field recordings in Zambia, Zimbabwe, Lesotho - also released on SWP Records.
I see myself as a 'modernist', but all that means is that I am in a position to steal from all over the place. People ask me what kind of music I make - what can one say, other than you have to hear it. So these days I say: It's a bit jazzy, a bit African, and a bit abstract, which I mix up as I want - all ingredients which may be as old as the world, but it is still my soup!