Results for "Improvised Music"

Improvised music

Athanas Gounov

Born: April 6, 1967

Athanas N. Gounov, also known as Vocoder Man, is a Bulgarian jazz composer, improvising pianist and bandleader. A philosopher, author and interdisciplinary artist, he has worked across music, writing, visual art and film, with jazz remaining a central thread throughout his creative life.

He emerged on the Bulgarian jazz scene in the late 1980s, founding a trio and later a quartet devoted primarily to original music. He performed at prominent Sofia concert venues, including Bulgaria Chamber Hall and the National Palace of Culture (NDK), and at festivals throughout the country. He also appeared abroad on occasion, including in Austria, France and Germany. During the 1990s, he developed a distinctive harmonic language within the contemporary national jazz landscape, through repertoire built largely around his own compositions. In 1997, he released The End of History, an original album recorded with prominent Bulgarian jazz musicians, including Antoni Donchev, Rumen Toskov and Vassil Parmakov. The album is still remembered within Bulgaria’s jazz community as a representative recording of the period.

Das Ende der Liebe

Active since: 2014

Das Ende der Liebe (DEDL) is an improvising quartet from Köln/Berlin: Andreas Völk (guitar, voice, live beats and sound processing), Laurenz Gemmer (Yamaha CP70, Ableton Live), Kenn Hartwig (bass, Nintendo Game Boy) and Thomas Sauerborn (drums, synthesizer). "Trip Music" is how the quartet describes itself, after one of their album titles. The four come from jazz and have turned their instruments into something of their own, with countless effects, preparations, live sampling and a drum kit built for this music.

A DEDL concert is one single continuous piece, usually between one and two hours: every piece comes into being in the moment, improvisation and hypnotic repetition carry each other, and the sound remains recognisable, psychedelic, sensual and wild, danceable as soon as the room wants it. They play in techno clubs and jazz clubs, at festivals and in off-spaces, on ships, in bunkers and planetariums, often with live visuals by Lucas Grey.

Sjoerd van Eijck

Born: June 3, 1992

Sjoerd van Eijck (Breda, 1992) is a pianist, composer, and educator. He graduated in 2016 from the Tilburg Conservatory, where he was taught by renowned pianists such as Jeroen van Vliet, Rembrandt Frerichs, Harmen Fraanje, and Wolfert Brederode.

Over recent years, Van Eijck has developed into a distinctive voice within the Dutch jazz scene. His lyrical style of playing is characterized by a classical approach to the piano, a refined touch, and a rich palette of tonal colors. In both his compositions and improvisations, melody, sound, and space take center stage, naturally blending influences from classical music, free improvisation, and contemporary jazz.

Dave Asher

Dave Asher – Chicago Pianist. Live improvised piano for gatherings, events, and performances, responding in real time to the people in the room.

Emmanuel Cremer

Born: March 1, 1975

Emmanuel Cremer is a French cellist, composer, improviser and educator based in Brussels.

For more than two decades, he has developed a personal artistic language at the crossroads of jazz, free improvisation, contemporary music and interdisciplinary performance. His work explores the cello as a complete sound world, moving between melody, rhythm, texture and spontaneous composition.

Influenced by artists such as John Coltrane, Ornette Coleman, Jimi Hendrix, Bill Frisell, John Zorn and Barre Phillips, Cremer has shaped an approach rooted in deep listening, exploration and the dialogue between structure and improvisation.

Dave Kurtiak

Born in Bayonne, NJ to a musical family, it was no surprise when Dave picked up the bass at age 13. Playing in various heavy metal and hard rock bands before being introduced to jazz, Dave developed a percussive right hand playing technique that has more to do with his playing than any bass, effect or amp he uses.

After a long hiatus playing music while working for several record labels, Dave decided to pick up the bass again. Now living in Seattle, Dave’s focus shifted to improvised music, primarily the underground jazz and funk scene in Seattle. Funky, groovy and a voice all his own, Dave’s playing can be heard with and leading How Now Brown Cow.

How Now Brown Cow

Featuring the dynamic rhythm section of long time bandmates as well as founding member Dave Kurtiak on bass and Donovan Pfeifer on drums with the ear-catching Kerry O'Connor on fender rhodes and keyboards and frequest collaborator Brad Schrandt on Sax and flute. Playing their signature funk and jazz fueled all improvised original instrumental music, How Now Brown Cow bring a mix of creativity, talent and musicality that has made them known throughout the Seattle music community. Their spontaneous compositions are kin to the sounds and stylings of vintage groups like The Brand New Heavies, Herbie Hancock & The Headhunters, Average White Band, Tower of Power and The Meters as well as more modern groups such as Scary Pockets, Vulfpeck, Galactic and Medeski, Martin and Wood.

Noah Stoneman

VIENNA IMPROVISERS ORCHESTRA

Active since: 2004

With its praxis of Instant Composition Conducting, the Vienna Improvisers Orchestra (VIO) engages in a special discourse of experimental composition and complex improvised music for large ensembles. Based on a vocabulary of hand-signs, momentary compositions arise from the oscillation between ad hoc conducting that provides structure and ensemble improvisation. Instant Composition Conducting, which is based on Butch Morris' method of hand-sign-conducting called Conduction, has been developed by ad-hoc-conductor/art. dir. Michael Fischer since 2004 into a coherent praxis that follows certain principles:
1. absolute ad hoc creation - on the part of both the ensemble and the conductor; there are no prepared or agreed-upon modules/designs, 2. no rehearsals, only a short try-out of the hand-signs before the concert begins, 3. the musicians are grouped according to instruments, 4. few hand-signs (approx. 20) are used, which 5. are used as sparingly as possible, 6. the instant compositions have long, narrative sequences of 35-50 minutes, 7. each concert features a curated, ever-changing ensemble constellation and usually includes at least one new musician.