#gerry hemingway

[dustedmagazine]

Urs Leimgruber — AIR Vol. 1 (Creative Works)

When confronted with a four CD set of freely improvised music, basic may not be the first word that comes to mind. But check out the title. What’s more essential to a saxophonist than air? It’s what they project through a horn. If they can’t gather it and blow it through that metal tube in sufficient volume and with enough control, no sound comes out. Urs Leimgruber has been making records using different members of the saxophone family for fifty years, and been playing longer than that. Originally known outside of Switzerland as a member of Om, which recorded for ECM back in the 1970s, he’s operated in completely composed and totally free settings, as well as many creative nodal points on the line between them.

In recent years, he seems to have narrowed his focus to the soprano saxophone. Each disc of AIR Vol. 1 presents an improvisation with a long-term collaborator in The Space, the rehearsal-performance-recording room where Leimgruber works when he’s at home in Lucerne. Hans-Peter Pfammatter plays a prepared upright piano; Jacques Demmierre, an amplified spinet (an antique keyboard that sounds like a harpsichord); Thomas Lehn, analogue synthesizer; and Gerry Hemingway, drums. The accompanists differ in instrument and aesthetic, but each has an individual and deeply considered approach to his instrument. By performing with each in a sequence, Leimgruber invites one to listen for his essential character as a player and improviser.

Certain musical rudiments do not make the grade. While melody and rhythm can be handy, neither is essential. One might expect one or the other to assert their necessity when playing with a drummer, but while occasionally present, both players abstract them into expressions of line, sometimes drawn quite faintly, and other times with force. Likewise, one might look for harmony in encounters with keyboards, but shape and space seem to be more important. With Lehn, mercurial shifts between proximate and distant timbres come into play. But with all of his partners, Leimgruber sounds absolutely like himself. He alternates exquisitely pure tones with bold, lacerating ones, fashioning them into shapes that complement what his partners play, but could be complete on their own.

Bill Meyer

[donospl]

Co w jazzie piszczy [sezon 1 odcinek 19]

premierowa emisja 6 września 2023 – 18:00 Graliśmy: Sanem Kalfa “Quail” z albumu “REFLEX: Miraculous Layers” – Bimhuis Records Nina Simone “Mississippi Goddam” z albumu “You’ve Got To Learn” – Verve Records John Coltrane with Eric Dolphy “Impressions” z albumu “Evenings At The Village Gate” – Impulse! Records Slowly Rolling Camera “River View” z albumu “Flow” – Edition Records Aki Rissanen…

[soundgrammar]

Listen/purchase: I Can't Stay Here Any Longer by Gerry Hemingway

[marcogiovenale]

14 maggio @ sic12 (roma): "sonic topographies"

SIC12, Roma, via Francesco Negri 65 per prenotarsi: https://t.ly/SQRZ in collaborazione con COMPLUS EVENTSSi ringraziano: Kulturförderung/Swisslos, Luzern Schweizerische Interpretenstiftung SIS, Zürich, Fondation Nicati-de Luze, Lausanne Sergio Nascimbeni, Raffaella Morra (Fondazione Morra), Pino Saulo (Palinsesto Battiti Rai Radio 3), Alessandro Reali * SIC.12 Art Studio APS è uno spazio…

[jrmilazzo]

Today’s necessary noise. (Gerry Hemingway Quintet, Outerbridge Crossing, 1985)

[tedspankoffskisbignaturals]

Fuck marry kill

Ernest Hemingway

Ted Spankoffski

Gerard Keay (is that how it’s spelled??? < has not finished tma)

oh my god,,,,,,, kill ted, fuck hemmingway, marry gerry<3

[bradfordart]

‘Waterwisp’ Marilyn Crispell / Gerry Hemingway   Table of Changes / 2015

[zhanteimi]

Anthony Braxton – Willisau (Quartet) 1991

Anthony Braxton – Willisau (Quartet) 1991

USA, 1992, avant-garde jazz / modern creative Marilyn Crispell on piano, Gerry Hemingway on drums and marimba, and Mark Dresser on bass join Anthony Braxton as he takes the listener on a wild, imaginative, sometimes sinister journey with saxophone, flute, and clarinet. This is a long quadruple album, so it’s probably best not to tackle it all in one sitting. The first two discs are studio…

[radiophd]

thomas lehn / gerry hemingway -- b2

[merzbow-derek]

POST-SCRIPTUM 723

TWO OF MY ALL-TIME FAVORITES (261): Trevor Watts String Ensemble “Cynosure” & Ray Anderson / Mark Helias / Gerry Hemingway “Oahspe”

( Trevor Watts, par là )

[thebeautyofblacklines]

The shark closed fast astern by Gerry Morris Via Flickr: Illustration by C F Tunnicliffe for "The Old Man and the Sea" by Ernest Hemingway. The Reprint Society, London, 1953.

[dustedmagazine]

Rodrigo Amado The Bridge — Beyond The Margins (Trost)

Sonny Rollins named The Bridge after the Williamsburg where he practiced during a three-year long retreat from public performance that he undertook in order to secure his chops. Rodrigo Amado did not engage in any sabbatical so lengthy before he put together this quartet, but its formation still reflects the pursuit of artistic growth. The amount of experience around him is so formidable that just dropping their names — Alexander Von Schlippenbach, Gerry Hemingway, Ingebrigt Håker Flaten — speaks volumes. This is what someone does when, like Rollins, they don’t just think about riding the present wave of fortune. They’re in it for the long haul.

One might apply that description to the music that Schlippenbach has played with his legendary trio, or Hemingway did in his diverse partnerships with Anthony Braxton and Reggie Workman, or that Håker Flaten has in the never-ending story that adds a new chapter every time he takes a stage with Paal Nilssen-Love. It’s music that builds upon itself, applying knowledge acquired over decades of return engagements.

One might also, in a different way, apply that description to the music on this record. Recorded in concert at Pardon Tu Tu, in Warsaw, it’s a study in the practice and payoffs of building a performance on an elongated timeline. The title tracks lasts just over 40 minutes, during which the musicians declare allegiances, explore contrasting territories and build to several escalating climaxes. As remarkable as the peaks is the way the ensemble eases away from them each time, taking the pressure down so that the music never exhausts itself. The two pieces that follow are relatively brief, not quite eight minutes each, and their compactness makes them feel like gradual resolutions of that grand main act.

But this music rewards at the micro as well as macro levels. At any given moment, Håker Flaten and Hemingway can each be heard orchestrating contrasting vectors of energy that surge and shake, but never break, the performance’s rhythmic foundation. Schlippenbach interjects both professorial reminders – “don’t forget the Monk, lads” – and door-opening actions that can turn the action around in a moment. Amado remains true to his fundamentals, drawing out muscular lines and dipping into lyrical asides. But he also draws sustenance from the forces swirling around him, blowing with spectacular intensity and poised restraint, each phrase as compelling as the developmental arc it supports.

Bill Meyer

[burlveneer-music]

Potsa Lotsa XL - Silk Songs for Space Dogs - saxophonist Silke Eberhard’s 10-piece band for performing her own compositions

Silke Eberhard (altosax, composition) Jürgen Kupke (clarinet) Patrick Braun (tenorsax, clarinet) Nikolaus Neuser (trumpet) Gerhard Gschlößl (trombone) Johannes Fink (cello) Taiko Saito (vibraphon) Antonis Anissegos (piano) Igor Spallati (bass) Kay Lübke (drums)

Silke Eberhard is a saxophonist, clarinetist and composer based in Berlin.

Since the mid-90s she has dedicated herself to the freer variations of jazz and improvised music. Her collaboration with Jan Roder and Kay Lübke, which began then and eventually resulted in the Silke Eberhard Trio, moves in this tradition in search of new challenges, that recently led to “The Being Inn” (the 3rd trio album, awarded the German Record Critics’ Prize, a concept album) – a cozy inn.

Her intensive occupation with the music of Eric Dolphy led to the project Potsa Lotsa, initially a wind quartet, interpreting the complete works of Dolphy. The project expanded to the Septet Potsa Lotsa Plus (plays Love Suite by Eric Dolphy) and ultimately to the tentet Potsa Lotsa XL, which so far performs solely Eberhard’s compositions.

She composes for small and large ensembles, contemporary music and jazz. In her wide-ranging work as a performer she also focuses on improvised encounters in dance, theatre and visual arts.

She works with many collective ensembles, including the duo with Ulrich Gumpert, the duo with Uwe Oberg ( + trio with Gerry Hemingway), Matsch & Schnee, I am Three …. she performs / recorded with numerous musicians of the international jazz scene such as Aki Takase, Nikolaus Neuser, David Liebman, Sandy Evans, Hannes Zerbe, Wayne Horvitz, Dave Burrell, Michael Zerang, Maggie Nicols, Joe Morris, Michael Formanek, Talibam! amo… and travelled with her music all continents except Antarctica.

[soundgrammar]

Listen/purchase: Kairos by Izumi Kimura & Gerry Hemingway

[diyeipetea]

WHO Trio: Strell: the music of Billy Strayhorn & Duke Ellington (Clean Feed, 2020) [Grabación de jazz]

WHO Trio: Strell: the music of Billy Strayhorn & Duke Ellington (Clean Feed, 2020) [Grabación de jazz]

Por Rudy de Juana.

Llevan más de 20 años llevando el avant-garde jazz a conquistar nuevas fronteras. El conjunto suizo-americano Who Trio, formado por el pianista Michel Wintsch, el percusionista Gerry Hemingway y el bajo Bänz Oester, componen uno de los conjuntos de jazz más sofisticados del panorama actual. Y sofisticados de verdad, no como uno de esos clichés que se utilizan antes del punto y…

[jbgravereaux]

Earl Howard // Gerry Hemingway // Anthony Davis                                                                                                                                                                          Earl Howard (synthesizer), Gerry Hemingway (percussion), and Anthony Davis (piano) premiere “Shattered Glass” and “Ditch.”                                                                                                                                                                          "Shattered Matters" is a new composition of structured improvisation exploring the de-positioning, reforming, and regrouping of events. "Ditch" is a new piece for solo saxophone.                                                                                                                                                                                                                              Earl Howard has been performing his compositions in the United States and Europe for over thirty years. His recent compositions include music for live electronics and electronic tape music as well as that for electronics and instruments.                                                                                                                                                                                                                                       Earl Howard's method of creating orchestrated sounds with electronics and adding live, improvisational performance creates a unique, densely layered composition. Earl has performed for enthusiastic audiences at numerous venues including Merkin Hall, the Whitney Museum, The Kitchen, The Knitting Factory, Roulette, and Carnegie Recital Hall.                                                                                                                                                                                          In 2011, Earl Howard received a Guggenheim Fellowship. In 2004, his first sound installation was commissioned for the Tiffany Collection at the Queens Museum of Art.                                                                                                                                                                                                                                      In the spring of 2003, Howard had a Regents Fellowship at UCSD. He received three New York Foundation for the Arts Fellowships. In 1998, he was the recipient of Harvard's Fromm Foundation Commission. He graduated from California Institute of the Arts in Music Composition in 1974.                                                                                                                                                              Aired on rTV: 2008 Performance: Sept. 28, 2008 Produced by Jim Staley                                                                                                                                                                                                                        //COMPLÉMENT : pour écouter directement LOSS d’Anthony Davis à Botticino : Anthony Davis 2009-10-30 CD Botticino Soundboard   et   inconstant sol: Anthony Davis Quintet “Episteme” - Live in Botticino '09