The Squid's Ear Magazine


Prevost / Solberg / Pettersen / Moore / Brice / Hardie-Bick: Plumes of Ash in Moonlight [2 CDs] (Split Rock Records)

Bringing together two innovative improvising percussionists--Eddie Prevost of AMM fame, and Stale Liavik Solberg (VCDC, John Butcher)--for a studio album of wide-ranging and sometimes hair-raising electroacoustic improvisation, recorded live and unedited with Olie Brice on double bass, Tony Hardie-Bick on piano & tapes, Ed Pettersen on lap steel, and NO Moore on guitar.
 

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Personnel:



Olie Brice-double Bass

Tony Hardie-Bick-piano, tape machine

NO Moore-guitarism

Ed Pettersen-lap steel

Eddie Prevost-percussion

Stale Liavik Solberg-percussion


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UPC: 600793200016

Label: Split Rock Records
Catalog ID: SR20001
Squidco Product Code: 28450

Format: 2 CDs
Condition: New
Released: 2020
Country: USA
Packaging: Cardboard Gatefold
Recorded live at Westpoint Studio, in London, UK, in February, 2019, by Shane Shanahan.

Descriptions, Reviews, &c.

"In Plumes of Ash, the focal point is the interplay of two acclaimed percussionists, Eddie Prevost and Stale Liavik Solberg. The sounds and textures come together to create compelling narratives, with each of the five extended tracks in this 2 CD set a mini-suite in its own right. As a founding member of AMM, Prevost requires no introduction while Oslo based Liavik Solberg's delicate yet spirited approach and mastery of dynamics as a drummer is garnering increasing attention. The hugely popular Olie Brice lends support on upright bass, Ed Pettersen creates textures on lap steel, Tony Hardie-Bick plays the tape machine, and NO Moore contributes ambient parts on electric guitar.

The initial industrial sounds of "Rattling Branch" subtly transform as if moving you along through a tour of London neighborhoods, from bustling cafes to the maritime waterfront. Building in dynamic, "Spark Sorting" primes you for travel and liftoff and then inverts on the listener in a whirling kaleidoscope of sound, while "Clattering Device" is simply spontaneously playful. "Thermal Drive" takes you on a wild extended tour from the mad sounds of a busy elfin workshop, pushing, pulling and lifting, before releasing you to a vast and spooky tundra where you eventually have a conversation with nature. The final track Soot Arrangements showcases the full range and dexterity of the percussive talent and is an appropriate finale to a wildly interesting record."-Split Rock Records



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"I'm a jazz and improv double bassist, based in Hastings, SE England.

I lead and compose for The Olie Brice Quintet, which released our debut album 'Immune to Clockwork' in 2014. The quintet was named as one of the 'new bands 2014' in the El Intruso Critics Poll, and was described by Richard Williams as "one of the most interesting and satisfying bands on the current UK scene". The current line-up of the quintet features George Crowley on tenor, Alex Bonney on cornet, Mike Fletcher on C-melody sax and Jeff Williams on drums. Our 2nd album, 'Day After Day' will be released in Jue 2017 on the Babel label.

I'm also involved in several collaborative projects, including;

a Trio with Tobias Delius - tenor sax, clarinet and Mark Sanders - drums

duos with Achim Kaufmann - piano, Rachel Musson - tenor sax and Tom Challenger - tenor sax

BABs (James Allsopp - bass clarinet, Alex Bonney - laptop)

and am in a few people's bands, including:

Mike Fletcher Trio (Mike Fletcher - C melody sax, Jeff Williams - drums)

Dee Byrne's Entopri (Dee Byrne - alto sax, Andre Canniere - trumpet, Rebecca Nash - piano & Matt Fisher - drums)

Alex Ward Quintet (Alex Ward - clarinet, guitar, Rachel Musson - tenor sax, Tom Jackson - bass clarinet, Hannah Marshall - cello)

Loz Speyer's Inner Space Music (Loz Speyer - trumpet, Chris Biscoe - alto sax, alto clarinet, Rachel Musson - tenor & soprano, Gary Willcox - drums)

Alex Bonney Quartet (Alex Bonney - trumpet, James Allsopp - reeds, Jeff Williams - drums)

Other musicians I've appeared with include Tony Malaby, Evan Parker, Paul Dunmall, Ingrid Laubrock, Ken Vandermark, Steve Swell and many others..."

-Olie Brice Website (https://oliebrice.com/about/)
3/13/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Tony Hardie-Bick, a member of London Experimental Ensemble, is an "Innovator, entrepreneur, musician and engineer. Designer of software musical instruments and synthesis algorithms. Inventor of Acoustic Pulse Recognition, a passive acoustic touch sensing technology based on phase difference analysis, commercialised by Elotouch in 2006. Holds several acoustics and digital signal processing patents. Also has extensively consulted on intellectual property, initiating and developing patent portfolios and related IP strategies for numerous clients in the UK, USA, Canada, Europe and Australia. Has toured Europe and North America as a professional keyboard player with the band Sham69. Continues to explore music, improvisation in music, musical instrument design, performance and acoustics, analogue and digital electronics, signal processing, among other interests."

-Linked In (https://uk.linkedin.com/in/tony-hardie-bick-36aa98b3)
3/13/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"NO Moore's guitar playing combines elements wrenched from the short history of the electric guitar, from the Blues to Free Improvisation, and combines them with a love of early electronic experimentalism, synthesis, and musique concrète. The result is an often surprising sound world for electric guitar, encompassing both a loose respect for its traditions and an absolute commitment to the new and the consequences that follow."

-Cafe OTO (https://www.cafeoto.co.uk/artists/no-moore/)
3/13/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"As an artist, Pettersen has worked long and hard to develop his craft and in doing so has achieved a depth and sophistication that is just now being recognized. An emerging Americana artist in the 90's still driven by the twin influences of Springsteen and the country rebel artists of his youth, Pettersen gained attention for his second release "Somewhere South of Here". Steeped in Americana and country rhythms, the album fell somewhere between the traditional sounds of Americana and the rocking slide guitar of country radio and the tongue in cheek single "DWIOU" (Driving While Intoxicated on You) found a place in jukeboxes worldwide and on the country line dance charts.

But Pettersen's passion for music of all genres was unlimited and led to forming the rock band The Strangely's with friend and drummer Pete Abbott, his brother Mike (one of the finest guitar players Ed knows to this day), and bass player Lori Adams. Despite the great sound of the band, without label support and the inability to tour widely, the Strangely's drifted apart leaving Pettersen with two of his finest rock cuts, the moody and dark "Broken Mirror" and the plaintive "Justine". Around the same time a mysterious illness hit Pettersen hard, sending him through a long odyssey of doctors and hospitals, and being felled by acute physical pain for which there was no visible cause. Temporary paralysis of the vocal chords was a recurring symptom and so for several years Pettersen concentrated on songwriting and production, producing the quirky and gorgeous voiced duo Rosasharn and developing the concept for the Song of America.

An innate drive to hone his craft and work with the best of the best led Pettersen to Nashville in 2002. There, working with the best meant assembling a crack recording unit dubbed The Great American Rhythm section, featuring Reggie Young, Bob Babbitt, Dave Hungate, Catherine Marx, and Ed Greene on drums. The unit played a key role in many of the recordings for Song of America and other Pettersen productions. The only explanation that Pettersen could come up for why they convened at will when called was "They liked to play with each other and I didn't tell them what to do. Am I going to tell Reggie Young who has more number one hits than any guitar player how to play?" So while other songwriters were networking with country artists in town, Pettersen started getting cuts like his marvelous "I Guess We Shouldn't Talk About That Now," on Bettye LaVette's Grammy nominated 2007 The Scene of the Crime and "I Don't Want Anything" on Candi Staton's Who's Hurting Now?, from 2009. The latter includes one of the most delicate and poignantly beautiful lines of all time "Like the beauty of a child's smile, the future on an angel's wing".

In just the last few years Pettersen has re-emerged as a full-fledged recording and touring artist and in the meantime his voice and talents have grown tremendously. Discovering his Norwegian roots and Scandinavian heritage is the catalyst for the hauntingly melodic acoustic tunes on I Curse the River of Time. But it is the amalgamation of his early years honing a few well-crafted words in advertising, working with playwright and mentor John Bishop, trying a hand at film production, overcoming hardship and illness, and through it all constantly studying music, art, literature, and life that makes Pettersen an artist of note and a poet worth discovering."

-Ed Pettersen Website (https://www.edpettersen.com/bio)
3/13/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Eddie Prévost (Edwin John) (born Hitchin, Hertfordshire, England, 22 June 1942) is an English percussionist noted for founding and participating in the AMM free improvisation group.

Of Huguenot heritage, Prévost's silk weaving ancestors moved to Spitalfields in the late 17th century. Brought up by single parent mother (Lilian Elizabeth) in war-damaged London Borough of Bermondsey. He won a state scholarship to Addey and Stanhope Grammar School, Deptford, London, where to-be drummers Trevor Tomkins and Jon Hiseman also studied. Music tuition, however, was limited to singing and general classical music appreciation. Enrolled in the Boy Scouts Association (19th Bermondsey Troop) to join marching band. As a teenager began to get involved with the emerging youth culture music; skiffle, before being introduced to a big jazz record collection of a school friend with rich parents. With a bonus from the florist, for whom Prévost worked part-time after school, purchased his first snare drum from the famed Len Hunt drum shop in Archer Street (part of London's theatre land).

After leaving school at sixteen Prévost was employed in various clerical positions whilst continuing his musical interests. Although, by now immersed in the music of bebop, his playing technique was insufficient for purpose. New Orleans style jazz ('trad') offered scope for his growing musical prowess. He played in various bands mostly in the East End of London. It was during a tenure with one of these bands he met trumpeter David Ware, who also shared a passion for the hard-bop jazz music. In their early twenties they later formed a modern jazz quintet which ultimately included Lou Gare, who had recently moved to London from Rugby and was a student at Ealing College of Art and a member of the Mike Westbrook Jazz Orchestra.

AMM was co-founded in 1965 by Lou Gare, Eddie Prévost and Keith Rowe. They were shortly joined by Lawrence Sheaff. All had a jazz background. They were, however, soon augmented by composer Cornelius Cardew. Thereafter, Cardew, Gare, Prévost and Rowe remained as basis of the ensemble until the group fractured in 1972. Other more formally trained musicians were to enter the ranks of AMM after Cardew's departure. Those to make significant contributions were cellist Rohan de Saram and, in particular, pianist John Tilbury. The latter was a friend and early associate of Cardew and later became his biographer.

In contrast to many other improvising ensembles, the core aesthetic of the ensemble is one of enquiry. There was no attempt to create a spontaneous music reflecting, or emulating, other forms. The AMM sound-world emerged from what Cardew referred to as "searching for sounds". For Prévost, the following would become the core formulation which he would explore during his subsequent musical career and explain and develop in various writings (see bibliography) and workshop activities.

We are "searching" for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them.

In the 1980s, in response to various workshops and lectures, Prévost first formulated the twin analytical propositions of heurism and dialogue as defining concepts for an emergent musical philosophy, whilst acknowledging Cardew's construction (above). This line was explored and constantly redefined much through the London workshop experience, as his articles and his books show. (see below: The London Workshop). His 2011 book - The First Concert: an Adaptive Appraisal of a Meta Music - is described as a view "mediated through the developing critical discourse of adaptionism; a perspective grounded in Darwinian conceptions of human nature. Music herein is examined for its cognitive and generative qualities to see how our evolved biological and emergent cultural legacy reflects our needs and dreams. This survey visits ethnomusicology, folk music, jazz, contemporary music and "world music" as well as focusing upon various forms of improvisation - observing their effect upon human relations and aspirations. However, there are also analytical and ultimately positive suggestions towards future metamusical practices. These mirror and potentially meet the aspirations of a growing community who wish to engage with the world - with all its history and chance conditionals - by applying a free-will in making music that is creative and collegiate." (back cover of First Concert)History with AMM

When, in the early 1970s, Cardew and Rowe began to devote their time and energy to espousing the political doctrine of an English Maoist party a fracture occurred in the ensemble leaving the rump of Lou Gare and Eddie Prévost, who continued in a duo form making various concerts and festival appearances and leaving a legacy of two recordings. At the end of the decade a rapprochement was attempted and for a short while the quartet began playing together again. It did not last. Lou Gare departed and moved from London to Devon. While Cardew's commitment to politics made his complete withdrawal inevitable. It was during this period Prévost took an Honours Degree at Hatfield Polytechnic, exploring and developing his interests in history(especially East Asian) and philosophy. Musically, this left Rowe and Prévost playing together. Their recording for German ECM label "It had been an ordinary enough day in Pueblo, Colorado" is the single example of their duet period. By the late 1970s a reawakened association with John Tilbury was cemented into his permanent place in AMM. He is featured on all subsequent AMM performances and recordings (as is Prévost). In 2002 a more lasting schism occurred leading to Rowe departing from AMM and leaving Tilbury to continue with Prévost.Percussion

The investigative dynamic of AMM leads a musician to seek out new material. It is the fabric and constitution of stuff that is considered as more important than any historical or cultural heritage. It is Prévost's constant exploration's that has produced the range of sounds associated with his work, particularly within AMM and its extension to the many workshop ensembles. This philosophy leads to what Seymour Wright has so aptly described as the "awkward wealth" of investigation.(citation) It is a position of constant examination and artistic redress.Drumming

Drumming with AMM was principally replaced by discreet percussion work which by and large relied on sound and texture rather than rhythm. At the time of the Gare/Prévost period this position was reviewed. However, it was plain the AMM aesthetic, characteristic of the early formative period, was to have its effect. The "searching" method prevailed. And, whereas a saxophone and drums duet led to a more jazz-like expectation (amplified by Gare's reversion to a more rolling and modal post-Rollins kind of approach). Prévost's playing was noted to have acquired some unusual qualities. This lead one reviewer (Melody Maker) to remark in 1972: "His free drumming flows superbly making use of his formidable technique. It's as though there has never been an Elvin Jones or Max Roach."

Drumming however, was to take a back seat in Prévost's musical output as AMM developed and began to acquire and enhance its innovative reputation. And, apart from rare musical outings he did not commit himself, more fully, to the jazz drum kit again until 2007/08. Although, continuing to play percussion, a jazz-inflected project with Seymour Wright and Ross Lambert in an ensemble called SUM was the precursor of a period more devoted to drumming. Apart from various ad hoc ensembles, this led to various recordings including a series a CDs entitled Meetings with Remarkable Saxophonists. At date this consists of four volumes featuring Evan Parker, John Butcher, Jason Yarde and Bertrand Denzler respectively.The London workshop

Over the years Prévost has conducted many improvised music workshops. However, as a result of a seminar he conducted at The Guelph Jazz Festival, Canada in 1999, Prévost began to formulate a framework for a workshop based upon a more thorough working of AMM principles and practice. He wrote:

"I had, of course, already had long previous experience of improvisation and experimental music mostly through my participation in AMM and working closely with the composers Cornelius Cardew and Christian Wolff. From this experience I had begun a working hypothesis in my book 'No Sound is Innocent'. However, there is always more to discover. On my long flight across the Atlantic, I intuited more could be found out. Not through introspective, if rational, thought alone but, through discovery or experimentation: praxis. It can, of course, be very discomforting to watch a proposition die in practise. No theory is worth its salt unless it is fully tested. The best ideas - this experience suggests - emerge through activity. Hence, the working premise of the improvisation workshop had to be based upon an emergent set of criteria constantly tested within the cauldron of experience.

In November 1999 I made it known that a free improvisation workshop would start weekly in a room at London's Community Music Centre, near London Bridge. Originally, under the auspices of the London Musicians' Collective, [...] these premises were found and minimal lines of communication to possible interested parties were opened. The first Friday evening (not thought to be an auspicious evening of the week because people 'went out' to have a good time) duly arrived. The room was available precisely because no one ever hired it on a Friday! I waited. Edwin Prévost, The First Concert: an Adaptive Appraisal of a Meta Music, (2011) p.115/6

Since then the workshop has continued weekly. It has a strong collegiate atmosphere. Those who participate are themselves formulating and refining a programme of enquiry and empathy. The working premise is one of 'searching for sounds' (Cardew). The emphasis is upon discovery and not on presentation. It is a place to risk failure and develop an open and continuing processive relationship with the materials at hand and other people. As hoped and anticipated, Prévost's continual presence is no longer required. In his occasional absences senior colleagues (in particular Seymour Wright and Ross Lambert) more than adequately move the project along. To date there have been over five hundred people who have attended the weekly workshop in London, representing over twenty different nationalities. This activity is further augmented by occasional forums for discussion and London's Cafe OTO programmes ensembles drawn from the London workshop every month. There have also been occasional extended periods of collective workshop musical experimentation. And, in 2010 there was a residential workshop held in Mwnci Studios on the Dolwillym Estate, west Wales. (see various other texts: including Philip Clark's Wire piece)] There are now workshops based upon this general premise functioning in Hungary, Greece, Slovenia, Japan, Brazil and Mexico. Mostly started by alumni of the original workshop in London.Intermediate and experimental compositions

Cardew's 'Treatise' etc. Cardew's introduction to AMM in 1966 owes something to his search for musicians to perform his (then unfinished)193 pages long graphic score, 'Treatise'. The AMM musicians (at the time Lou Gare, Eddie Prévost, Keith Rowe and Lawrence Sheaff) seemed perfect candidates to embrace this bold work of imagination. And, with others (including later AMM member John Tilbury) all participated in the premier performance at the Commonwealth Institute on 8 April 1966 (check year!). But the initial impact of Cardew's induction into AMM was to bring a halt to his compositional aspirations. However, over the years since, AMM has had a long relationship with particular indeterminate and experimental works particularly those of Cardew - especially after his death in 1983. Most prominently 'Treatise'. Other favourites were 'Solo with Accompaniment', 'Autumn '60', Schooltime Compositions' and the text piece Cardew wrote particularly for AMM, 'The Tiger's Mind.' These pieces (which for a long time had been neglected within 'new' musical schedules), and occasionally others by Christian Wolff and John Cage, were sometimes played in conjunction with an AMM improvisation. Some concert promoters were, it seems, more interested in these pieces being played than the principal musical output of AMM. Hence, Prévost's ambivalence about the inclusion of such material in concert programmes. The creative search for primary performance material was diverted, in such works, in keeping with the demands of the notation or compositional scheme. This inevitably prevented the musician from (to use Cardew's own words) "being at the heart of the experiment". (Cardew, 'Towards an Ethic of Improvisation; CC R p. 127).Matchless Recordings and Publishing

In 1979 Prévost began the recording imprint of Matchless Recordings and Publishing. Although there had been some interest by commercial labels to take on the new improvising music of the late 1960s onwards, it proved not to be satisfactory or long-lasting. Together with a number of similar initiatives, e.g. Incus Records in Britain and ICP (?) in the Netherlands, Prévost sought to take control of their own work. In the early years this was slow and painstaking work. Some years little was produced and few small sales accrued. Gradually however, Matchless recordings began to be the documenting and disseminating base for a developing body of work. Most of the AMM output is featured on Matchless and this has diversified (more so in recent years) to include other associated artists and ensembles.[see matchlessrecordings.com] In 1995, following the same principal for internal control over the output, production and dissemination of material, the publishing imprint Copula was inaugurated. The first publication was Prevost's No Sound is Innocent. Later followed by Minute Particulars in 2004. 2006 saw the publication of Cornelius Cardew: A Reader (edited by Prévost) which was a collection of Cardew's published writings accompanied by commentaries by a number of musicians associated and inspired by Cardew. This volume was an essential companion to John Tilbury's comprehensive biography Cornelius Cardew: a life unfinished which was also published by Copula in 2008. The most recent book to appear on this imprint is Prévost's The First Concert: An Adaptive Appraisal of a Meta Music (2011).

Eddie Prévost is the cousin of the ex-docker shop-steward and left-wing political activist also named Eddie Prevost."

-Wikipedia (https://en.wikipedia.org/wiki/Eddie_Pr%C3%A9vost)
3/13/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Solberg holds a Masters degree in improvisation at the Norwegian Academy of Music and has since worked in the Norwegian and European improvisation scene, u. a. with Øystein Eldøy, Frode Gjerstad, Fred Lonberg-Holm, Eivind Lønning, Stine Janvin Motland, David Stackenäs, Joe Williamson and Per Zanussi in the formations Hot Four, Motsol, S / S Motsol and VCDC. He also played in a duo with John Russell and in a trio with Steve Beresford and Martin Kitchen, 2014 in trio with Alan Silva and Mette Rasmussen . With Paal Nilssen-Love, he organized the Blow Out! Festival in Oslo. [3] Solberg lives in Oslo."

-Wikipedia DE (translated) (https://de.wikipedia.org/wiki/StŒle_Liavik_Solberg)
3/13/2024

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Track Listing:



CD1



1. Rattling Branch 17:54

2. Spark Sorting 22:44

CD2



1. Clattering Device 27:59

2. Thermal Dive 10:20

3. Soot Arrangements 10:13

Related Categories of Interest:


Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
European Improvisation, Composition and Experimental Forms
London & UK Improv & Related Scenes
Matchless
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Porcelain (soundtrack for the film by Jenneke Boeijink)
(Machinefabriek)
The soundtrack for Dutch/Belgium/Italian co-production "Porselein" (Porcelain), a psychological drama by Jenneke Boeijink, recorded with cellist Francesco Guerri and using a motif from Henry Purcell's "The Fairy Queen", the album release including 12 additional tracks; powerful, emotional and passionate music of great tension and brilliant performances from Guerri.
Virtual Company (Fell / Wastell / Bailey / Gaines)
Virtual Company
(Confront)
IST, configured as the duo of double bassist Simon H. Fell and cellist/percussionist Mark Wastell, performing a virtual quartet at London's Cafe OTO, using using pre-recorded fragments of solo work from late guitarist Derek Bailey and tap dancer Will Gaines, combined with sections of silence of unforeseeable length, and then combined with the live musicians; amazing.
Corner, Philip
Gamelan Coming & Going
(ANTS Records)
Gamelan Son of Lion partners Philip Corner and Evan Schwartzman perform this Fluxus composition where two pianists play piano notes on the chromatic scale in relationship to numbers counted out loud from 1 to 88, forward and backward, creating an unusual texture and counterpoint that when taken as a whole becomes hypnotic and obsessively absorbing; inexplicably interesting.
Leap Of Faith
Sense And Understanding
(Evil Clown)
Two excursive works from the Boston improvising collective Leap of Faith, with the core trio of PEK on clarinets, saxophones, double reeds & flutes, Glynis Lomon on cello, aquasonic & voice, and Yuri Zbitnov on drums & percussion, plus guests Kat Dobbins on trombone and Bob Moores on trumpets, creating a highly interactive environment performing PEK's framework compositions.
Metal Chaos Ensemble
The Nameless City
(Evil Clown)
One of the most prolific Evil Clown ensembles, Metal Chaos Ensemble distinguishes itself through the use of Gongs, chimes, glockenspiel, Tibetan Bowls and many other metallic sounds, with horns, compositions and narratives by multi-reedist PEK, in a rhythm-heavy fantastical journey in a septet with Moouse Traore on djempe and Mike Gruen on Azoth and Basilisk.
Turbulence
The Conception Of Sense
(Evil Clown)
Turbulence, the wind instrument and sometimes percussion branch of the Leap of Faith Orchestra is represented by leader and composer David Peck (PEK) on winds, reeds and percussion, and Yuri Zbitnoff on drums and percussion, with saxophonist Michael Caglianone joining and also performing on bells, as they perform an extended framework composition from PEK.
Turbulence
Son Of Cosmocentric
(Evil Clown)
Turbulence Cosmocentric Edition, the extended horn section for the Leap of Faith Orchestra with the core of PEK on winds & percussion, Yuri Zbitnoff on drums & percussion, plus guest Michael Caglianone on saxophones, sheng, game calls and percussion, in an extended piece that holds reflections of Sun Ra's work through powerful rhythms and diverse and unusual instrumental passages.
Leap Of Faith
Cosmic Distance Ladder
(Evil Clown)
The core trio of the Leap of Faith Orchestra comprising multi-reedist & wind player David Peck, also on percussive devices, with Glynis Lomon on cello, aquasonic and voice, and Yuri Zbitnoff on drums & percussions, with special guests Kat Dobbins on trombone and Bob Moores on trumpet & flugelhorn, in an evolving set of strong harmonic, percussive & lyrical interaction.



The Squid's Ear Magazine

The Squid's Ear Magazine

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