MATS GUSTAFSSON 2 DAY residency day 1 with pat thomas + phillp wachsmann

Event information

Mats Gustafsson - Soprano, Alto, Tenor, Baritone, Contrabass, Saxophones & Flutes .
Pat Thomas – Piano
Philipp Wachsmann – Violin

Two night residency with Swedish, saxplayer, improviser and composer Mats Gustafsson. Tonight he will be playing in duos and trios with Pat Thomas on piano and Philipp Wachsmann on violin.

Gustafsson has worked with everyone from Peter Brötzmann to Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Joe McPhee, Paul Lovens, Barry Guy and Derek Bailey as well as groups such as The Thing, Sonore, Gush, Boots Brown, Swedish Azz and Nash Kontroll. He has been involved with large ensemble work with the Barry Guy New Orchestra, Peter Brötzmann Chicago Tentet and the NU – ensemble. He has appeared in 1500 concerts and over 140 recordproductions in Europe, North America and Asia. He has collaborated with contemporary dance, theater, art as well as projects with noise, electronica, contemporary rock and free jazz.

LINKS
http://matsgus.com/
http://www.efi.group.shef.ac.uk/mgustafs.html
http://www.last.fm/music/Mats+Gustafsson
http://www.youtube.com/watch?v=a6jwznarGFk




PAT THOMAS

Pat studied classical piano from aged 8- started playing Jazz from the age of 16- he has since gone on to develop an utterly unique style - embracing Improvisation, jazz and new music. He has played with Derek Bailey in Company Week (1990/91) and in the trio AND (with Noble) – with Tony Oxley’s Quartet and Celebration Orchestra and in Duo with Lol Coxhill.

Current projects include a duo with Steve Williamson, and the group SCATTER. A solo piano Cd “ PAT THOMAS PLAYS THE MUSIC OF DEREK BAILEY AND THELONIOUS MONK” was released in 2008 on the FMR label.

LINK

http://www.efi.group.shef.ac.uk/mthomas.html




Phil Wachsmann

John Corbett notes that Phillip Wachsmann came to free improvisation from a predominantly classical background, particularly via the contemporary experiments of "indeterminacy, graphic and prose-based scores, conceptualism and electroacoustics, listening to Webern, Partch, Ives, Berio and Varèse, reading 'Die Reihe' and interrogating the rhythmic, harmonic and melodic preoccupations of Western art music. Starting in 1969, Wachsmann was a member of Yggdrasil, an ensemble performing works by Cage, Cardew, Feldman, Ashley and others and in this group he used contact mikes on the violin and made his own electronic instruments, ring modulators and routing devices. Ironically, his studies with Nadia Boulanger in Paris (1969-1970) pushed him hard in the direction of free music. He recalls: 'Despite her neoclassical orientation, her insistence that composition is about the imagination of performance and its realisation, the live moment, and her stunning ability to make this happen was a powerful influence on me, steering towards 'performance' and therefore 'improvisation'.'"



LINKS
http://www.efi.group.shef.ac.uk/mwachs.html