Funny Rat

[Д.Д.]

Listening to Stalking Andrei right now.

While music isn't a competition, MAN is it difficult to listen to this after having feasted on Butcher's music.

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The short Roscoe Mitchell piece is the one I liked the most, and that l o o o o o n g g g g g g Pauline Oliveros track is just overkill.

Edited September 1, 2005 by Д.Д.

[Guest Chaney]

I'm in the middle (oh god! please let it be at least the middle!) of the Oliveros piece right now.

I think you've nailed it correctly: all just too dry, academic and somewhere more on the practice exercise level.

Not much muscle or drive in his playing on this one. Too little determination.

~~~~~~~~~~~~~~

just another murder : music by dave douglas : film by roscoe 'fatty' arbuckle

~~~~~~~~~~~~~~

Listening to Phillip Greenlief / Trevor Dunn (Evander Music). Very nice. Greenlief really shines when performing in this more mainstream style.

Edited September 2, 2005 by Chaney

[Guest]

do new releases count as recommendations?

http://www.organissimo.org/forum/index.php?showtopic=21653

thanks.

[Д.Д.]

do new releases count as recommendations?

http://www.organissimo.org/forum/index.php?showtopic=21653

thanks.

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Great to see Soseditions following up with a new release - the first release (DOneda/Wright/Nakatani) was fantastic.

My only exposure to Meehan's music is his duo with Sachiko M which I did not have the nerves of listening to for longer than 3 minutes - beacuse of Ms. Sachiko's sine waves, though. Would be interested to hear what meehan is about alone.

At the same time, I am not sure I will jump on this new release immidiately - $31 (plus "small post fee") is probably not what I am willing to pay for a CD, even a double one.

[gnhrtg]

While Gokhan is not posting more of his impressions from Mulhouse, here is a short but wild flick from Barry Guy's Orchestra perfomance (3,4 Mb; Beware it's lo-fi - but Mats is visible in all his glory

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Yes, well, I had seen a friend from Sweden there who takes and took lots of pictures in each concert, with a tripod and was going wait for a week or so so that he could sift through and send me the better pictures. Anyway, I guess I can always post those later along with (even) more comments on the concerts. I will get to work tonight.

Meanwhile, for those who have heard the band's earlier output, I've been listening to disc 1 of Atomic's The Bikini Tapes (3 disc set of live material on Jazzland, recorded mostly last year, iirc, and quite a part of which comes from a concert I attended in last year's Kongsberg Jazz Festival) and overall, I enjoy it more than either of their earlier (studio) albums. Ljungkvist, in particular, and Broo - neither of whom I'd really been fond of in this context - acquit themselves very well.

[king ubu]

While Gokhan is not posting more of his impressions from Mulhouse, here is a short but wild flick from Barry Guy's Orchestra perfomance (3,4 Mb; Beware it's lo-fi - but Mats is visible in all his glory

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Yes, well, I had seen a friend from Sweden there who takes and took lots of pictures in each concert, with a tripod and was going wait for a week or so so that he could sift through and send me the better pictures. Anyway, I guess I can always post those later along with (even) more comments on the concerts. I will get to work tonight.

Meanwhile, for those who have heard the band's earlier output, I've been listening to disc 1 of Atomic's The Bikini Tapes (3 disc set of live material on Jazzland, recorded mostly last year, iirc, and quite a part of which comes from a concert I attended in last year's Kongsberg Jazz Festival) and overall, I enjoy it more than either of their earlier (studio) albums. Ljungkvist, in particular, and Broo - neither of whom I'd really been fond of in this context - acquit themselves very well.

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I had that Atomic set in my hands a few days ago... I only have "Feet Music" and think it's good, but nothing earth shattering. Will check the box out some day!

[Sahara Blue Orchestra]

Well friends, I have a cofession to make - there are a few Lacy records I can hardly listen to due to the sound of his soprano.

Quite a few.

Solo ones in particular.

Hey David, have you heard Clinkers? There are solo ones and solo ones

While Gokhan is not posting more of his impressions from Mulhouse, here is a short but wild flick from Barry Guy's Orchestra perfomance (3,4 Mb)

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Clinkers is great.

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splendid. serendipitous.

[Д.Д.]

...WE [downtownmusicgallery] ARE ABLE TO OFFER 110 OF THE [DIW and AVANT] TITLES AT PRICES FAR LOWER THAN WHEN THEY WERE AVAILABLE BACK THEN, NOW AT PRICES of $12, $10, and even $8 each!!! . Edited September 2, 2005 by Д.Д.

[John B]

...WE [downtownmusicgallery] ARE ABLE TO OFFER 110 OF THE [DIW and AVANT] TITLES AT PRICES FAR LOWER THAN WHEN THEY WERE AVAILABLE BACK THEN, NOW AT PRICES of $12, $10, and even $8 each!!! .

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The Brotzmann disc isn't bad. It reminds me of a somewhat less impressive Last Exit.

[gnhrtg]

Jazz a Mulhouse - 5 days, 30 concerts, and an a festival pass for only 75 euros. Well actually, the pass only buys you the 15 concerts, 3 evening concerts, starting at 9.00pm per day - the noon and afternoon concerts are free. Last year was the first time I'd ever been to this festival and I was satisfied enough to go this year again. I can already tell you that I will do my best to be there next year as well.

24 August, Wednesday - Since I was to defend my dissertation proposal on the afternoon of the 23rd, we could only get on our way on the morning of the 24th, thus missing Le Quan Ninh's solo noon set. This year we stayed at Mercure, the same hotel the musicians stay at. More importantly the festival shuttle leaves from and returns to right in front of the hotel. Anyway we arrive at around 2pm and are down at 5.10 for the shuttle, scheduled to leave at 5.30 (if you ever attend a concert/festival with me, you probably will vow never to do so again unless you're as worried about missing shuttles and not securing front-row seating as I am).

Ernst Reijseger solo - Ernst's approach to playing solo, at least in this instance as well as on his disc Colla Parte, is playing pieces, i.e., tunes. Almost always, he builds these around preset melodies and the familiar structure of head-solo-head, though this is usually interpreted broadly to suit his whim as melody-solo-melody format with expanded or contracted parts of solos inserted - at time in a call-response fashion, no longer than 4 bars, at others playing until he has run out of ideas, basically, and returns to the melody to buy time. Here, he played 3 pieces from his solo album on Winter & Winter and a Misha tune - which I remember either from that album or one of Misha's solo albums. About 30 minutes, he starts to run out of fuel. But he has his bag of tricks, of course - percussion solos on the cello, cello as guitar, and walking around while playing an arco arpeggios (entertainment value innit), to name a few. He went through all of these which helped him provide a fun but unexceptional 45 minute set. I think Ernst has very good taste and is a very good and able musician yet at times plays as if he cannot be bothered to think hard and create and vary what he's doing. Nevertheless, it was a good concert but I would have liked to hear him play and make music rather than cycling through his bag of tricks - for this I think he's better when playing in well-matched ensembles, such as those of Hemingway or Clusone 3.

Olivier Benoit solo - Olivier sent some people for the doors though judging from the applause that followed the conclusion of his set (one piece, around 45 minutes) it was well-liked. I'm not going to try and describe the music but it is way closer to eai, if not, than to free/avant-garde jazz. There were interesting and nicely cohering passages here and there but the duo set the following day with Sophie Agnel was easily better - had most of the good qualities of his set with half the wandering, I thought. It's good to see him play, certainly, but (as with the duo set) I actually found out that I would enjoy, or could at least follow and judge, the music better when I was not actually looking at the stage - as then I would also direct some of my attention to try to figure out how he's generating the sounds and what pedals he's using and so on.

Barry Guy/Bruno Chevillon duo - First time I saw Barry Guy live. Monster bassist (and musician as I had already concluded from hearing many albums he's played part in) - and I really like his tone. I did not enjoy this set much. If I remember correctly, they went on for the entire duration (or max stopped once, so two pieces) and this I think was quite to the detriment of the music as I thought there were quite a few dead-ends, or non-happening bits, which they forced for way too long. This was mostly Chevillon's making as he, apparently, cannot bring himself to stop playing. So just as I thought, and judging from what he played and his gestures Guy too, that they were about to, and should, conclude a piece Chevillon would try to get them going again - and this mostly resulted in Guy's reacting with a similar passage, which did not make the music any more interesting. Anyway, I'm happy I saw them but I could have done with 30 minutes of this.

Le Grand Huit - was Herb Robertson, Jean-Luc Cappozzo, Itaru Oki on trumpets, Johannes Bauer, Conny Bauer on trombones, Per Ake Holmlander on tuba, and Edward Perraud and Raymond Strid on drumkits. Now this concert went way downhill after the initial 15 minutes or so as pretty much all that happened afterwards was rotating duos highlighting two members of the ensemble - where the rest either did nothing or tried to come up with some backing riffs to spice up the proceedings, with not much success. I do not know whether they had rehearsed much but since there was no leader, they are a collective you know, I did not see the point of putting them together in this fashion as, again, it was not collective music making in any sense. One more thing, I was very bothered by Edward Perraud's contributions - he's obviously a resourceful percussionist, he could match and imitate the sounds emanating from any of the instruments, the problem being, as you might guess, that he did little else and he hardly ever stopped playing.

Koch/Schutz/Studer - We had listened to Life-Tied a few days before leaving for the festival and had high-hopes for this set. So it might be because we had stepped off a 4.5 hour train ride and sat through 4 concerts already, i.e., we were tired, but I do not have much good to say about this concert either. I will just say that, seeing them live, I do not believe that either Schutz or Studer, are near Koch's level as a musician or as instrumentalists.

So I think it was after the Benoit set that I ran into a friend from Sweden (who was there with his German friend, and I had met them both, courtesy of likewise [jazzcorner poster], at Perspectives 2004).

The only disc I bought the first day was Wright/Nakatani/Doneda's From Between (SOS Editions). This was before I had discovered that you could pay by cheque.

Anyway, at the end of the day I was not in the high spirits I was expecting to be. In fact, I had found the music, overall, to be quite uneventful. I started chatting to my girlfriend about how perhaps I could have made a better choice and opted for another festival and so on. Anyway, you do know now that I felt differently by the end of the festival, reports of the concerts of the following three days to come soon (the highlight, again, being the Sten Sandell Trio, followed by Les Diaboliques, Ochs/Masaoka/Lee, followed by Brotzmann/McPhee, I guess).

[Guest Chaney]

Thanks for the write up, Gokhan.

Even though your first day was a bit of a drag, it's always of interest reading these accounts. Looking forward to more.

~~~~~~~~~~~~~~

Massimo Ricci's Touching Extremes: Reviewing the best of non-commercial music.

~~~~~~~~~~~~~~

"I have to keep track of discs I hear during the year for top-ten-making in the fall for various periodicals. Here’s the list I’m working with so far..." -- Nate Dorward

~~~~~~~~~~~~~~

4074 LOL COXHILL & VERYAN WESTON "Worms Organising Archdukes" (2000-1)

Yes, great. I was at the Archdukes (Archiduc) part.

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Thanks for recommending this one. Great indeed!

Anyone know how often EMANEM has sales? Was the sale that just ended a quirk?

Edited September 4, 2005 by Chaney

[Д.Д.]

"I have to keep track of discs I hear during the year for top-ten-making in the fall for various periodicals. Here’s the list I’m working with so far..." -- Nate Dorward

I have a feeling that some of those are form 2004. I know that this is to coinside with the operations year of the magazines Nate writes for, but then it's a bit silly - "the best of October 2004 - October 2005"? "The best of what we listened to in 2005, regardless of when it was released"?

4074 LOL COXHILL & VERYAN WESTON "Worms Organising Archdukes" (2000-1)

Yes, great. I was at the Archdukes (Archiduc) part.

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Thanks for recommending this one. Great indeed!

I got this one as well! - haven't listend to it yet.

Anyone know how often EMANEM has sales?  Was the sale that just ended a quirk?

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I'm, on EMANEM mailing list for a couple of years now, and this is the first time they announce a sale.

[Nate Dorward]

DD: there are a few late-2004 releases there, yes, since they wouldn't have had a chance to get in my lists last year. Coda asks for the list in October; Cadence permits you to send it in much later (first week of December I think it was) but the catch is that it may only contain discs that have already been reviewed in Cadence, so in fact the Cadence list will contain stuff from about August or September at the latest (since it's usually about 3-6 months between submitting a review to them & its appearance). Anyway, this is one reason I keep track of things--so I don't forget the stuff from late 2004 & early 2005 in the rush at year's end.

Actually I think most labels would be smart, like car companies, to advance-date discs that are released in October through December, so that magazines & music fans don't treat them as if they're old news in the new year. For instance just a month ago I received Ezra Weiss's new disc, Persephone (very nice mainstream jazz date, by the way); it's dated 2004 but clearly it only entered any kind of circulation in mid-2005, to judge by the absence of reviews & the fact that no-one else I know has heard of it. It should have been dated 2005.

[Д.Д.]

SLAM news:

*****October 2005 ***** New releases:

“Vesuvius” (SLAMCD 262).

Alex Von Schlippenbach piano,

Paul Dunmall tenor saxophone,

Tony Bianco drums,

Paul Rogers 7 string bass.

“Amherst Dislodged” (SLAMCD 263).

Tim Crowther guitar, guitar synth.

Steve Franklin keyboards,

Tony Marsh drums.

[P.L.M]

“Vesuvius”  (SLAMCD 262). 

Alex Von Schlippenbach piano,

Paul Dunmall tenor saxophone,

Tony Bianco drums,

Paul Rogers 7 string bass.

This should be a one for me.

Schlippenbach/ Dunmall that quite a match to this ears.

[gnhrtg]

Seeing that three days to write about I will try to keep my comments short (as believe me that writing these does not come naturally at all not to mention that I haven't the talent):

25 August, Thursday - Hoping for a better day we got up had breakfast and headed to Chappelle St-Jean.

Paul Dunmall Bagpipes solo - The noon solo set. I think he played 3 or 4 different kinds and took the time between pieces for a one-line information on the region of origin for each bagpipe. Not that I remember any of the infomration but I do remember what I would call the curiosity bagpipes, way smaller than the rest with a sound not unlike the sound of old (and new?) Casios. The piece on these bagpipes itself was not more than a curiosity as this particular timbre, apparently, failed to inspire much melodic or otherwise variation from Dunmall (maybe these are particularly diffiult to play, I do not know). The pieces on the other bagpipes I can summarize as being close in structure to circular breated soprano sax pieces utilizing a number of pedal points and other contrapuntal devices to keep going on and on. I enjoyed about half of this concert and the rest was ok - not particularly inspired or interesting. Outside the chappele were Dunmall's solo bagpipe dscs for sale. I did not feel like picking any up.

So we had lunch and ventured into the local Fnac. I scanned the shelves obsessively and walked out with a 9 euro cut-out copy of Sylvie Courvoisier's Abaton (ECM, two disc set with Mark Feldman and Erik Friedlander, a disc of compositions and another's worth of improvisations).

Tilbol (Pascal Maupeu on guitar, Hugues Vincent on cello, Colin Neveux on drums) - It seemed to me, after the concert was over, that their heart is close® to rock. Which there is nothing wrong with, just an observation. But I cannot say I liked this much - the first couple of pieces raised my hopes but the rest was nothing noteworthy (especially when you see 20 or so concerts in 4 days). I think I would have enjoyed the concert more had they played more of their composed pieces. Oh, and yes, hearing the cello when the guitarist was playing, as you might imagine, was quite a task and bothered me.

Sophie Agnel/Olivier Benoit duo - One continuous piece - a little over 45 minutes, I think. The total time I looked at the stage was at most 10 minutes. Good concert. Though I think I enjoy such interaction when either (1) it is quicker or (2) less transparent. Here I could predict a lot of what was to come and so the build up to that was not interesting (and the build up itself was mostly not interesting, so the changes to the overall "pace" were interesting but what was in between I was not taken with as much.

Peter Brotzmann/Joe McPhee duo - After the concert, my Swedish friend confirmed with McPhee that as far as he, the latter, could remember this was the first time he played clarinet in public. Brotzmann was much less disruptive than I was expecting him to be and as a result this ended up (somewhat to my surprise I must admit) being one of the better sets of the festival. They did play, I think finished with, Master of a Small House, Brotzmann's dedication to Fred Hopkins. McPhee was particularly successful in dealing with Brotzmann's frentic forays on his saxes (played alto and tenor, iirc) on his pocket trumpet. It was good to hear them and I would go again.

Ochs/Masaoka/Lee (Fly, Fly, Fly) - The last concert of the evening. I was quite tired at this point and might have dozed off now and then during this concert. Yet, I remember well that it was another highlight of the festival and I actually almost preferred the parts where Ochs was not playing at all (he did not play much anyway, and when he did it sounded like it was mostly to steer the compositions/improvisations to a particular direction and then step back). Playing, execution, wise very much a trio of equals. The music itself rarely got loud or overtly animated but it sure hung together very well and contained numerous passages of (evocative) beauty. I would have bought their disc, with the cello player from Kronos instead of Peggy Lee, were there not many discs on offer I had waited quite some time to buy.

What I am (was) skipping over is the Ernst Reijseger Ensemble. They were on right after Tilbol, as a free concert. Let me see, I think there were 2 double basses, 12 cellos, and a violin in the ensemble. They all had music in front of them and apparently Ernst had precomposed (or written down, I think at least one was a Misha melody) many short phrases for them and basically went around (the ensemble was seated in a semi-circle and Ernst was moving all the time) and got different parts of the ensemble playing different phrases. Most of it was simple very melodic and enjoyable music (to listen to and a similarly fun performance to watch). There was everything from swing to straight time romps to delicate waltzes, upbeat melodies to a faux contemporary classical string music passage. I should have taken notes as this was a highly eventful concert. Good job (the ensemble was mostly local, young, musicians or students).

What did I buy - I think I bought Jenssen/Glerum/Jenssen's Lighter (Geestgronden) and All Eears' Foamy Wife Hum/Line (double disc set on Bik Bent Braam, All Ears is Michiel Braam, Frank Gratkowski, Herb Robertson, Franz Vermeerssen, Wilbert de Joode, and Michael Vatcher) today.

What was that about trying to keep it short, again?

[Д.Д.]

Ochs/Masaoka/Lee (Fly, Fly, Fly) - The last concert of the evening. I was quite tired at this point and might have dozed off now and then during this concert. Yet, I remember well that it was another highlight of the festival and I actually almost preferred the parts where Ochs was not playing at all (he did not play much anyway, and when he did it sounded like it was mostly to steer the compositions/improvisations to a particular direction and then step back). Playing, execution, wise very much a trio of equals. The music itself rarely got loud or overtly animated but it sure hung together very well and contained numerous passages of (evocative) beauty. I would have bought their disc, with the cello player from Kronos instead of Peggy Lee, were there not many discs on offer I had waited quite some time to buy.

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Would highly recommend getting Fly, Fly, Fly (INTAKT) - one of the best releases of 2004, IMO.

THanks for the reviews. Would have loved to see McPhee / Brötzmann duo, even though I am not that much of a trumpet-playing-McPhee fan. From seeing the men live (with Zerang and Kessler), I'd agree that McPhee is the ears of the two.

[Jim Dye]

Then I highly recommend you grab a copy of this one, too:

AMG review here.

Quite different than the one you mentioned, which I also really enjoy, but a great live performance by a smaller unit of his.

Supposedly one of these groups (I'm not sure if it the quintet or the big band) has recorded a cover version of Eric Dolphy's Out to Lunch. I'd love to hear that when it is released.

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I finally received a copy of this yesterday from DMG. I am so excited about this group! They can really stretch a melody and work it into something fresh. Thanks very much for the recommendation. Looks like Tails Out is next on my list.

[Д.Д.]

Then I highly recommend you grab a copy of this one, too:

AMG review here.

Quite different than the one you mentioned, which I also really enjoy, but a great live performance by a smaller unit of his.

Supposedly one of these groups (I'm not sure if it the quintet or the big band) has recorded a cover version of Eric Dolphy's Out to Lunch. I'd love to hear that when it is released.

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I finally received a copy of this yesterday from DMG. I am so excited about this group! They can really stretch a melody and work it into something fresh. Thanks very much for the recommendation. Looks like Tails Out is next on my list.

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I also orderd it as a part of DMG DIW sale - looking forward to hearing it.

[jon abbey]

the Out To Lunch ONJO CD is still on its way, I think third in the upcoming queue from doubtmusic, a track by track cover version of the Dolphy disc.

besides Otomo's normal band, Axel Dorner, Mats Gustafsson and Cor Fuhler are all on the entire thing, I'm looking forward to it!

[Д.Д.]

Fiasko records

[Swinger]

Fiasko records

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Excellent label.

[gnhrtg]

26 August, Friday - Now, this time I will to sum up the proceedings in a few sentences, firm resolve, bay-bee. Indeed I will, but here's the trick - I attended to fewer concerts today. Skipped the Tony Buck, as I'd already mentioned, as well as the Olivier Benoit ensemble concert (which my girlfriend watched and told me was interesting and quite bearable, in her opinion, as she really did not get much out of his solo set and had skipped the Benoit/Agnel duo). Also, I had made up my mind earlier to skip Wiwili

Williamsburg Sonatas (Gebbia/Pupillo/L. Ligeti) - So Pupillo is the bass player for Zu, I understand, and Ligeti I had not heard before. For some reason I thought it was the Zen Widow band, with M. Goodheart and G. Powell and was quite excited at the prospect of seeing them live (as I did enjoy the long pieces on the disc). Anyway, the concert was just a wee bit short of a train crash. Nothing much was happening, perhaps partly because Gebbia was not happy with the sound for the first quarter of an hour or so. I will try to steer clear of further semi-improv sets with Pupillo and as mighty fine as he might be otherwise (or perhaps with bands he leads or when he composes), Lukas Ligeti is really not my kind of drummer - looks, and sounds, like whatever he plays he plays with a great deal of effort and with little attention to dynamics. Gebbia was interesting at times but but what he did, and the few times the group did gel, were certainly not enough to leave any kind of favorable impression on me. I did meet Gebbia afterwards and we had a nice chat, very friendly and open to talk with (and also told him that this particular band wasn't my thing and I was expecting, or still hope to, see the Zen Widow band).

Les Diaboliques - This is one of those acts/bands you really have to see live to fully appreciate (or at least form a valid opinion of). Not everything worked, sure, but overall I think it appealed to a broad range of the audience and I sure walked out very satisfied and with a smile on my face. All of their albums are now on my to-get list, opinions about the relative merits of each are welcome, by the way. Just to nit pick, I found Schweizer the least creative of the three, this particular night, Leandre did get into a number of "No, this is where we will go" routines, playing against the other two but in general I was very impressed with her, and particularly Nichols's, contributions.

Barry Guy New Orchestra - Quite a let down, not that I was all that impressed with the Oort-Entropy on disc either, mind you. It felt like sitting through not particularly interesting ensemble sections to get to the next solo, which were hit-and-miss. The first time I've seen Evan Parker live, so I have that to be thankful for. Barry Guy as bass player/musician was pretty good, however.

Done (how many words was that, then?).

Oh yes, I figured out (actually just asked Philippe, who runs ImproJazz) that we could pay by cheques and grabbed a bunch of discs. Don't have them handy here, will post the list later.

[king ubu]

Hello everybody... I've been serving again in Swiss army for two weeks (with one more week to come), doing that by blowing stupid marches and other stupid music (not stoopid, mind me)....

So this explains my absence here (and elsewhere).

A ridiculous photo here:

(of course there are only half a dozen of women - and they look and behave more like men than any other woman - among hundreds of "musicians"....)

Anyway.

What made me post here is Gebbia. Reading the above comments by Gokhan... well, when I talked to Gebbia after having heard the Zen Window trio (great concert, and great CD, too), he was very positive about that new band with that Zu fellow... (I hadn't even heard the name of Pupato before).

Now funny enough when I came home tonight (usually we only get to go home saturday morning, but we drank too much beer, so they sent us home on friday evening, for a change ), I had a mail from Gebbia, asking if I knew of any venue where he could play in Zurich, in duo with "Cave of the Tigers", his duo with cellist/vocalist Audrey Chen.

Here's the italian blurb he sent me in his mail, plus photos:

European Tour

from February 10th 2006

CAVE OF THE TIGERS

AUDREY CHEN cello and voice (Baltimore Usa)

GIANNI GEBBIA alto sax and objects (Palermo Italy)

going into the cave of the tigers takes risks and the courage to found stable point into the unknown....

Cave of the tigers è un duo di musica improvvisata formato nel 2003 dal nostro sassofonista Gianni Gebbia e dalla

violoncellista e cantante cinese-americana Audrey Chen.

I due si sono incontrati in coccasione dell' High Zero Festival a Baltimora e da quel momento hanno fatto dei concerti

negli Stati Uniti. Questo tour è una prima assoluta per l' Europa. Lo scorso Aprile Audrey Chen e Gianni Gebbia hanno

inciso un cd a New York dal titolo Bronx basement japanese carbonara.

Audrey Chen si è diplomata presso il prestigioso Peabody Institute di Baltimora e successivamente si è dedicata a

tempo pieno alla musica improvvisata esibendosi in numerosissime performances accanto ad artisti come Tatsuya Nakatani,

Jack Wright, Michel Doneda ed altri. Accanto al violoncello Audrey Chen utilizza la voce con tecniche inusuali ed estreme

piuttosto che l'uso di testi. Gianni Gebbia è da anni considerato uno dei massimi esploratori delle possibilità espressive

del sax in solo. Il suo nome è presente in varie enciclopedie della musica e nel 1990 ha vinto il referendum della rivista Musica

Jazz come miglior talento. Gianni Gebbia si esibisce regolarmente in tutto il mondo ed ha al suo attivo più di 35 incisioni discografiche al fianco di artisti come Peter Kowald, Gunther Sommer, Francesco Cusa ed altri.

Il tema dominante di Cave of the tigers è l'improvvisazione, l'avventurarsi nello sconosciuto e ritrovare il filo della composizione e della melodia in una nuovo dimensione estemporanea, fragile ma al contempo sicura di sè: una vera è propria esplorazione nella tana delle tigri.....

[king ubu]

and Gebbia: