Henk Bakker – Concertzender | Klassiek, Jazz, World en meer

#358. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Quarantunes XVII. Amplify2020.

1. Joe Talia – good as gold.

released July 13, 2020

2. Ryu Hankil – Rain Drop Mutation.

Released July 15, 2020.

3. Thomas Ankersmit – Skovsholm 0620.

Released July 15, 2020.

4. Valerio Tricoli – Angolazioni Inusuali Della Tua Camera Da Letto.

Released July 16, 2020.

#357. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Quarantunes XVI. Amplify2020.

1. Jin Sangtae – 6pm autopilot – 01 6pm autopilot.

2. SAL’s Nu Edition.

3. Joe Panzner-Mike Shiflet – Empire Wreckage.

4. Mark Vernon – The Dominion of Din. (part Two)

#356. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Quarantunes XV. Amplify2020.

Richard Garet’s approach to working with Letting Go focused on articulating the emission of materials with sonic properties as both source and instrument. Such materials were; amplified EMF emissions, modified audiocassettes, dysfunctional tape players, cracked media, sonification of light, circuit boards, and computer processing. Over the years his work has evolved from laptop playing to a more hands on type of approach, focusing on sound and material that could encompass more tactile malleability and less computer playback. 

This work was created during the Covid 19 pandemic in Garet’s studio in Queens, NY.

Richard Garet 
Letting Go 
35’10” 
recorded/assembled May 28-June 27, 2020, 
Stereo listening.

2. Mark Vernon – The Dominion of Din. (part one)

“The Dominion of Din is a radio play made out of recordings from a single fixed perspective over an eighteen-year period. It is created entirely from field recordings made out of the rear window of my flat. In essence, it’s a catalogue of exterior sounds that have annoyed, disturbed or angered me over the years living at this residence – and sounds that have largely disappeared during lockdown. 

My go-to method of dealing with nuisance noise is to record it. A sort of recording banishing ritual. The hope being that one day I will be able to utilise these sounds in some way, converting these sources of irritation into something positive. 

The piece includes now familiar soundmarks such as the daily delivery of beer barrels to the local pub, the shattering of glass bottles as they are emptied into recycle bins at night and the weekly maintenance of neighbours gardens that always seems to require extensive use of a leaf blower no matter what the season. More irregular sources of nuisance noise appear in the form of workmen erecting scaffolding, magpies nesting on the side of the house, drunken outdoor singalongs, overflowing guttering and a faulty burglar alarm that didn’t stop for three days solid over one memorably torturous bank holiday weekend.

Released June 24, 2020.

#355. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Quarantunes XIV. Amplify2020.

All sounds recorded at home during quarantine or taken from mobile phone voice memo recordings captured before quarantine. 

Instrumental recordings performed by TAK Ensemble during an impromptu reading in the anechoic chamber at Nokia Bell Labs in Murray Hill, NJ in December 2019: Laura Cocks (flutes), Madison Greenstone (clarinets), Marina Kifferstein (violin), Ellery Trafford (percussion), and Charlotte Mundy (voice).

Recordings of floors creaking captured in May 2019 in the Vienna homes of Haydn, Beethoven, and the birth and death houses of Schubert. These recordings appear in the piece unedited in the order in which the homes were occupied.

Additional recordings captured at home, performed in collaboration with Jennifer Eberhardt between March-May 2020 in New York City. 

Finished June 24, 2020.

2. For Simon H. Fell. 

Rhodri Davies: concert harp 

recorded 26.6.20 

Mastered by Sam Grant 

Photograph of Simon recording Composition No. 30 on the 7th of April 1998 by Jo Fell. 

===================================

At the beginning of the month, I heard that Simon Fell was seriously ill in hospital with advanced cancer. Today I heard that he passed away this lunchtime. 

Simon was a portal for me into improvised music. In May 1994, I chanced upon a concert by Peter Brötzmann, Willi Kellers, Alan Wilkinson and Simon Fell at the Grapes Inn, Sheffield and I was blown away. The next time I saw Simon play was a year later at Dr. Brown’s pub in Huddersfield, this time with Alan Wilkinson and Paul Hession. I was entranced by his energy and commitment to the moment. He played his bass with unfettered abandon and precision, with a beatific look on his face. I was young and felt I had nothing to lose, so I plucked up the courage to talk to him after the gig and ask if we could play together. In a typical instance of his…generosity of spirit, he said yes and the next day we met and played: it propelled me into twenty years’ engagement with improvised music. We have played together in so many formations over the years: the Simon Fell Septet at the Purcell Room (1996); as part of the infamous Butch Morris’ Conduction tour of the UK (1997); as part of Derek Bailey’s Company in New York and Marseille (2001 and 1999) and as part of the London Improvisers Orchestra. I have performed many of his compositions and been part of his ambitious big band formations and recorded projects (Composition No. 30: Compilation III and Composition No. 62: Compilation IV), as well as his immense BBC Radio 3 commission ‘Positions & Descriptions’ for the 2007 Huddersfield Contemporary Music Festival. 

Most notably, we played together as part of the trio IST (with Mark Wastell). In 1995, when we first played as a trio together, I was so ecstatic, and drove back from Chelmsford to London is some kind of delirious state. And I was so happy when I found out that the music from that first meeting would appear on an LP called ‘Anagrams to Avoid’ (1997). We played many extraordinary concerts together: as support for Derek Bailey and John Zorn at the Barbican (2000), a stunning concert at the Tempio Civico Dell’Incoronata, Lodi (2002), and at the Total Music Meeting, Berlin (2001). It was in 2001 while playing at the Tonic, NY with IST and Company that Butch Morris came up to Simon and me, gave us a hug, and invited us to play on the following night for his Conduction #118. This only added more delight to what was already an amazing series of concerts for me. 

Simon was thoroughly ethical in his approach to music making and to collective work. He was a great mentor and he set the bar high, as he should have. He was an insightful and critical intellectual who could dissect and respond eloquently to what was going on around him. This is evidenced in his long detailed letters to me as well as in his articles, ‘Report On The Composition Of Improvised Music 1 to 4’ published in Rubberneck magazine. He was later able to map out his analysis more fully in his Doctoral Thesis at Huddersfield University, “A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965—75” (2017). 



Simon and I were in touch several times earlier this year, planning future record releases, as well as IST’s twenty-five year celebratory concert which was planned for April 2021 at the Hundred Years Gallery, London. We were also planning for him to come to Swansea and play. Simon was dedicated, rigorous, virtuosic and I will miss his friendship and his music terribly. My love goes out to Jo Fell tonight.

#354. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Quarantunes XIII – Amplify2020.

1.

Kevin Corcoran. 
Vague Language.

1. Inessential work.

2. Other forms of resistance.

3. Cymbaldrift coda.

Recorded at home and in the field in San Francisco, June 2020.

Tracks 1 & 2 – field recordings, bass drum, objects.

Track 3 – cymbal, software.

2.

Oren Ambarchi & Robbie Avenaim.

Oren Ambarchi: guitars, iphone recordings, feedback piano, bells, percussion.

Robbie Avenaim: drums and butcher bird in my yard.

Recorded separately in Berlin and Melbourne, late May/early June 2020.

As per the AMPLIFY rules there was no prior discussion on the material or direction apart from the approximate track length. 
The two pieces were then superimposed by Taku Unami.

3.

Zhong Minjie – Victory Day.