Results for "Cologne"
Moers Festival Interviews: Kenny Garrett
by Martin Longley
The release of Kenny Garrett's Sounds From The Ancestors album (Mack Avenue, 2021) has reinvigorated his live performances, as the saxophonist tours heartily with an expanded band that's heavy on the Afro-Latin percussion. In recent times, multi-instrumentalist Garrett has been gigging with this dedicated Sounds From The Ancestors line-up, heavily devoted to the album, but not ...
Moers Festival Interviews: Brandon Seabrook
by Martin Longley
Brandon Seabrook cultivates a forked assault on the guitar and the banjo, amplifying both of them, and negotiating their strings at high speeds, filling his playing with hyper-detailed improvisations, or constructing complex compositional strategies, frequently referred to as 'riffs.' Seabrook has long been a crucial presence on the New York City scene, whether leading his own ...
Moers Festival Interviews: Sana Nagano
by Martin Longley
Right place, right time, your scribe caught Smashing Humans playing a late night set at the original Nublu club in NYC's Alphabet City, 19th April 2019. Intensity ensued, via a serrated prog-jazz extremity, sharply sculpted in its dynamic schizoid turning of sharp bends, its abrasive surface causing exciting distress. Smashing Humans were assembled by the Japanese ...
Moers Festival Interviews: Max Johnson
by Martin Longley
New York bassist Max Johnson has embarked on a European tour with his trio, in the run-up to the release of their new album Orbit Of Sound (Unbroken Sounds, 2022). They are playing crucial venues such as Roskam in Brussels and The Loft in Cologne, doubtless climaxing at the Moers Festival, also in Germany (3rd-6th June). ...
Moers Festival Interviews: Chris Pitsiokos
by Martin Longley
Alto saxophonist Chris Pitsiokos has successfully made a deep impression on the improvising scene of NYC during what amounts to almost the last decade. Still youthful, his raging complexity and conceptual attitude have the backing of a dedication to finding gigs, or even promoting his own events, and of always seeking out unfamiliar players for adventurous ...
Moers Festival Interviews: Spinifex
by Martin Longley
Spinifex will make an extremely welcome return to the Moers Festival in early June 2022. This heavily international group specialises in a collective meshing, combining the precision of composed themes with ample leeway for crashing over the barriers, splattering down onto a grassy field of wild improvisatory freedom. Heavy activity over a decade's span makes this ...
Week Of Surprise 2021
by Martin Longley
Week Of Surprise Stadtgarten/Christuskirche Cologne, Germany October 11-16, 2021 In the usual times, Week Of Surprise would be Night Of Surprise, with all of its sonic wonderment compressed into a kaleidoscopically overlapping sequence, where chance encounters were actively encouraged. In virus times, a more sober incarnation came into ...
Moers Festival Interviews: Tomeka Reid
by Martin Longley
The Moers Festival has been operating its Improviser In Residence initiative since 2008, inviting artists every year to dwell in a designated house on Klein Allee, very close to this German city's expansive Schlosspark. The 'Residence' part of the title is quite extreme, as each successive musician is given the keys for a full year's inhabitation, ...
About Jeffrey Morgan
Instrument: Saxophone
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Jeffrey Morgan
Born:
Jeffrey Morgan was born in the U.S.A. in 1954. He started playing violin when he was 10 and later integrated into a youth orchestra. At 19 he was inspired by The Art Ensemble of Chicago and Sun Ra and picked up the saxophone, trumpet, clarinet and started playing the piano as well. During his university studies he organized a Freeform Music Workshop in 1975. A year later he attended the Creative Music Studio in Woodstock, NY, and studied under Karl Berger, Oliver Lake and participated in workshops with Don Cherry. In 1976 he created his first compositional work for music and dance – Distress Mistress, and performed his first ensemble work, The Delirium Dimension. He also met saxophone player Bert Wilson and began a very productive collaborative musical friendship. In 1977 he created his first multi-media interdisciplinary work – Galactic Visions, a composition for music, dance, slide projectors, costumes, and light design. Morgan graduated from The Evergreen State College in 1977 with a Bachelor of the Arts degree: Studies were focused on the performing arts, e.g., music and experimental theater; and Eastern philosophy and Native American culture. In 1983 he released his first documented solo and ensemble works, "Quasar Mach", on LP. In 1984, along with Paul Hoskin, he co-founded the New Art Orchestra in Seattle, Washington. In 1987, Morgan moved to Birmingham, Alabama and worked with dancers Mary Horn and Susan Hefner; he also started an ongoing collaboration with LaDonna Smith. In 1988 he made his first pilgrimage to Europe in search of greener pastures and has since played with dozens of notable improvisors including Alan Silva, Keith Rowe, Peter Kowald, Paul Lytton and Xu Feng Xia just to name a few. From 1991 to 1996 he organized the Drang in Klang festival for experimental and improvised music, and in 1994 he established another open-door workshop for Conceptual Composition and Improvisation in Cologne, which led to invitations to lead other workshops in Bielefeld, Hamburg, Lisbon, Leeds and Wuppertal. He currently resides in Cologne, Germany.
Live streamed festivals: Moers Festival (Germany) and Bel Jazz Fest (Belgium)
by Henning Bolte
These days, calls/invitations for live streaming pop up in overwhelming high frequency via a diversity of media. It has become a challenging bombardment, challenging to connect to coordinate with your own course of the day and the night. It is more and more difficult to cope with it. Maybe only aleatoric approaches or abstinence remain as ...
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