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Dahinden, Roland

Talking with Charlie: An Imaginary Talk with Charlie Parker

Dahinden, Roland : Talking with Charlie: An Imaginary Talk with Charlie Parker (Hat [now] ART)

Bass clarinetist Gareth Davis asked composer Roland Dahinden to write for his quartet, with Koen Kaptijn (trombone), Dario Calderone (double bass) and Peppe Garcia (percussion), the result this "imaginary talk" with Charlie Parker, captured in a score involving graphic as well as more conventional elements, allowing structure and improvisation for the players.

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product information:

UPC: 752156020820

Label: Hat [now] ART
Catalog ID: Hat[now]ART208
Squidco Product Code: 26694

Format: CD
Condition: New
Released: 2018
Country: Switzerland
Packaging: Cardboard Gatefold 3 Panels
Recorded at Studio C, in Amsterdam, the Netherlands, in June 2018, by Micha De Kanter.


Gareth Davis-bass clarinet

Roland Dahinden-composer

Dario Calderone-double bass

Peppe Garcia-percussion

Koen Kaptijn-trombone

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Artist Biographies:

"Gareth Davis studied with Antony Pay and Roger Heaton in London and then with Dutch Bass Clarinet virtuoso, Harry Sparnaay in Amsterdam. He was invited by the French cellist Alain Meunier, to attend the prestigious Accademia Chigiana di Siena on a Scholarship and study chamber music with Yuri Bashmit, Katia Labeque, Tchaikovsky Prize winner Mario Brunello and the Italian composer, Luciano Berio.

Since his debut, at the age of 18, at London's Wigmore Hall, Gareth has gone on to play throughout Europe, North America and Asia. He has played under conductors including Riccardo Chailly, Sir Simon Rattle, Diego Masson, Gregory Rose and Roger Norington with orchestras and ensembles including the Philarmonia, Sinfonietta, ECO, Asko, Netherlands Radio Orchestra and Sinfonia 21. He also performed with the Neue Vocalsolisten, Sinfonietta and JACK Quartet, cellist Frances-Marie Uitti, guitarist Elliot Sharp, experimental noise band Nadja and electronic artists Scanner and Machinefabriek.

Gareth has been strongly involved in New Music having had pieces written for him by many composers such as, Salvatore Sciarrino, Jonathan Harvey, Toshio Hosokawa, Gavin Bryars, Peter Eotvos and Misato Mochizuki. He has worked extensively with the Hilliard Ensemble's countertenor David James, soprano Sarah Leonard, harpsichord virtuoso Jane Chapman, Heinz Holliger, Sine Nomine, Kreutzer Quartet the Rossetti Quartet and Xenakis Prize winning contra bassist, Corrado Canonnici.

Gareth has performed at many prestigious festivals including the Bienalle di Venezia, Prague Spring, Amsterdam, Ars, Vienna, Stockholm, Santa Fe, World Music Days and Salzburg. He has performed both contemporary and traditional repertoire on modern and period instruments and on folk instruments including the Romanian Taragota and Turkish Sol. In 2001 Gareth formed the duo 'muta' with accordian. In only a year nearly 40 works have been commissioned by composers including Magnus Lindburg, Rebecca Saunderds and Jo Kondo.

Gareth is currently exploring the potential of interactive visual media to expand the interpretation of existing twentieth century repertoire and open new theatrical possibilities for the performance of twenty-first century music."

-Maze Festival 2016 Website (

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"Roland Dahinden (born 2 May 1962) is a Swiss trombonist and composer.

He was born in Zug, Switzerland. He studied the trombone and composition at Musikhochschule Graz with Erich Kleinschuster and Georg Friedrich Haas, at Scuola di Musica di Fiesole Florenz with Vinko Globokar). He earned an MA at Wesleyan University in Connecticut (1994), studying with Anthony Braxton, Alvin Lucier and a PhD at Birmingham University, England (2002), studying with Vic Hoyland. In 2003, he was awarded the "werkjahr" prize of the art council of the Canton of Zug, Switzerland.

He is married to the pianist Hildegard Kleeb, whom he has worked with as a duo since 1987. Since 1992 he has worked as a trio with violinist Dimitrios Polisoidis.

As a trombonist he spezializes in the performance of contemporary music and improvisation/jazz. He has given concerts throughout Europe, America and Asia. Composers such as Peter Ablinger, Maria de Alvear, Anthony Braxton, John Cage, Peter Hansen, Hauke Harder, Bernhard Lang, Joelle Léandre, Alvin Lucier, Chris Newman, Pauline Oliveros, Hans Otte, Lars Sandberg, Wolfgang von Schweinitz, Daniel Wolf and Christian Wolff have written especially for him. In 2005, the CD Silberen was picked as one of the 'Top Classical Albums of the Year 2004' by The New Yorker.

As a composer he collaborated with visual artists Guido Baselgia, Andreas Brandt, Stéphane Brunner, Daniel Buren, Rudolf de Crignis, Philippe Deléglise, Inge Dick, Rainer Grodnick, Sol LeWitt, Lisa Schiess, with the architects Morger & Degelo, and with the author Eugen Gomringer.

His exhibitions with sound installation and sculptors are shown in Europe and America."

-Wikipedia (

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"Dario Calderone studied Doublebass with Massimo Giorgi, Franco Petracchi and Stefano Scodanibbio. Between 2001 and 2007 collaborated as solo Doublebass in various orchestras. Since 2007 dedicates mainly to the diffusion of music composed during the last 40 years. He has collaborated with a number of composers , among others Salvatore Sciarrino, Bernhard Lang, Louis Andriessen, Robert Ashley, Christian Marclay and Yannis Kyriakides, inspiring them in the composition of their works. His activity spaces from solo performances to chamber music, having been regularly invited by the major contemporary musical festivals. He plays with Nieuw Ensemble, NAP, Atlas Ensemble and Ensemble Algoritmo; in 2013 he funded together with Yannis Kyriakides, Ann La Berge, Wiek Hijmans, Gareth Davis and Reinier Van Hout the ensemble MAZE, a group deeply involved in radical experimentations in the field of conceptual composition.

He regularly gives masterclasses at the Tashkent conservatory and at the Amsterdam Conservatory. In 2002 wins the first price at W. Benzi solo doblebass competition, and in 2006 wins the stipendium price of the IMD of Darmstadt. He recorded a number of CDs for Stradivarius, Attaca records, Wergo and Unsounds. In 2015 will be tutor in the "impuls Academy" in Graz."

-Dario Calderone Website (

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"Jose (pepe) Garcia Rodriguez

Pepe (1980) is a versatile Mexican percussionist living in the Netherlands. He completed bachelors and master's degree at Koninklijk Conservatorium (The Netherlands) with top honors and the special distinction for "contribution to the development of percussion repertoire".

He was awarded with the Ear Massage percussion quartet in the IPCL 2004 (International Percussion Convention Luxembourg) and Gaudeamus Interpreters Competition in 2009 (2nd prize), Soloist with the Hong Kong Chinese Orchestra.

Current member of the Percussion group The Hague (Slagwerk DenHaag) , a group that has built up a leading position, both nationally as well as internationally; a position, which has brought them to virtually all European countries, the United States, the Middle East, Japan and Korea. In its use of instrumentation as well as sound sources The Hague Percussion is noticeable for an enormous diversity. Equally broad is its programming: from specialized research projects to accessible programs for a general public and from concerts for the youngest generations to large- scale (inter)national co-productions.

Pepe started working with children since 2000, developing new ways of approaching music since early age. In Mexico he started a new music developing program in coordination with the government in order to put new young generations of children in contact with music taking traditional elements as starting point.

One of the major interests in his career has been the collaboration with composers and artists in general, developing alternative methods of approaching new music through the aid of unconventional methods of musical notation, designing new instruments, fusing technical resources from non western cultures and extending the possibilities of traditional percussion instruments through electronic processes.

Since 2015 Pepe is a teacher for the Bachelor and Master percussion department at the Royal Conservatory of The Hague."

-Peppe Garcia Website (

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"Koen Kaptijn, born 1976, is not only a trombonist but also a composer and theater maker. He graduated from the Rotterdam Conservatory in 2000 and played with De Volharding and the Maarten Altena Ensemble.

At the moment Koen plays as a regular member in Trio 7090, De Koene Ridders, New Trombone Collective, Asko / Schönberg Ensemble, New Ensemble, Rosa Ensemble, Splendor Amsterdam, David Kweksilber Big Band, Clazz Ensemble, Amsterdam Sinfonietta, Veenfabriek and Orkater.

On a freelance basis Koen Kaptijn also works on a colorful procession of exciting projects."

-New Trombone Collective (Translated by Google) (

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

1. Phonological Extension 12:03

2. Free Morphenes 9:00

3. All - O - Phones 11:52

4. Morphological Drift 9:43

5. Semantic Crossings 9:48
sample the album:

descriptions, reviews, &c.

"This project involves other 3 wonderfull musicians based in Amsterdam: Gareth Davis, at Bass Clarinet, Koen Kaptijn at Trombone and Pepe Garcia at Percussions. Recently we have started playing gigs together, and decided to establish as a band, though not wanting to give us a name as such, but rather leaving our names there, like for an old times reunion or occasional collaboration.

We have asked the Swiss composer to write a new piece for us, inspired by the idea of inventing a new idea of a conventional jazz standard. The result was Talking with Charlie, an imaginary talk with Charlie Parker. This has been released on CD for HatHut Records. The following is a nice explanation of the working process, by Andy Hamilton:

Bass-clarinettist Gareth Davis asked Roland Dahinden to write something for his quartet, with Koen Kaptijn (trombone), Dario Calderone (bass) and Peppe Garcia (percussion). Dahinden responded with an "imaginary talk" with Charlie Parker, one of his musical heroes, captured in a score involving graphic as well as more conventional elements. "I took a piece of paper, and started to talk to him [Parker] one to one - and compose. Phrases, and graphical stuff". The resulting performance, says Dahinden, was "an intense and wonderful interplay between the musicians themselves and me as the conductor".

Dahinden is an improvising trombonist who works a lot with pianist Hildegard Kleeb. When I ask him whether he views himself primarily as an improviser, or a composer, he replies: "For me, sometimes composing is the better tool, and sometimes improvising is. One big difference is that when I compose, others are playing the music". As a youngster, he wanted to study classical and jazz at the same time. He became a student, and assistant, of Anthony Braxton, appearing with him on several recordings. He compares him to a supernova: "I learned so much by and through him", he comments. He sees a line from Charlie Parker, through Coltrane, and Dolphy, to Braxton. However, as a composer, Braxton uses fewer graphics and gives less freedom in interpretation, he believes.

Our discussion suggests some thoughts about the contrast between composer and improviser. It's tempting to think of the composer as essentially a "desk-worker" who produces scores for performance by others. But this model rests on the composer-performer divide, which appeared in Western music only as notation developed. Previously, one could say, all composers were at the same time performers of their own work, and perhaps that of others - for instance, troubadours might have learned each others' pieces. Though it's a matter of debate, it seems that in medieval church music, for instance, there was a limited canon of non-contemporary works; the "work-concept" in music was in its infancy.

The introduction of written notation in Western music in the 12th-13th centuries had momentous consequences. Notation probably began as a mnemonic device, to remind performers of music fixed in advance. Medieval notation didn't specify pitch, not because it wasn't fixed, but because performers knew the material and didn't need reminding. Although notation began as a means of communicating music that had already been made, it became a driving force in the evolution of music. It led eventually to the composer becoming a desk-worker rather than a performer, and finally to the idea that a composition can be defined by its score. That is part of what is involved in the work-concept, which was also associated with the increasing portability of music.

This is nothing to do with the much later Sony Walkman revolution, important though that was. Rather, it concerns the contrast with Bach's job as Kapell - meister, writing pieces for a particular location and set of performers, with no thought for their portability. These compositions were not works in a narrow sense, though that is what they later became - something repeatable in different locations, at different times, by different performers. A work may be inspired by or commissioned for a particular occasion, and written for particular performers, but is not limited in its performance by this. (There are obvious parallels with other media, such as the portability of framed paintings.) The portability of music led to a more standardised product. In Bach's day, performers were expected to embellish and elaborate.

During the 19th and 20th centuries, the composer acquired an increasing authority. As composers wrote more elaborate music, in particular orchestrating for a larger range of colours and sounds, scores became increasingly specific, limiting the input of the performer - though any system of notation requires the performer to interpret an apparently fixed artefact. In the 20th century, one could argue, there was a reaction, as jazz and improvised music developed their own alternative aesthetic. At the same time, the use of graphic notation by Western composers sometimes involved greater performer freedom. Before the appearance of the composer-performer divide, it could be argued, all music was improvised - at least in a broad sense.

That seems to be Roger Scruton's view, when he refers to "the emergence of 'works' from a tradition of spontaneous performance". Throughout the history of music, surely, lively performance has been valued. However, I'd argue that self-conscious improvisation, associated with positive values of spontaneity, energy and creativity is a Western post-Romantic ideology. An improviser, in the Baroque era, was not reacting to a strictly controlled score; there were no such scores. When Chopin improvised before "fixing" the final version of a piece - if there was a single final version - that situation was changing. I've been appealing to a useful distinction between broad and narrow cultural concepts, developed by the classicist G.E.R. Lloyd, in his intriguing book Disciplines. Lloyd distinguishes "narrower" and "broader" views of philosophy, and science; one can also speak of narrower and broader concepts or practices of design. The divide between designer and maker parallels that between composer and performer. At one time, designers were also makers; design in a broad sense involved planning in some form, but not by a professional class of designers, and consumerism, in this era, did not exist. As a class of designers appeared, and became professionalised, they produced plans for products manufactured by others.

Only with the appearance of a design in this narrow sense, are there consumers in our familiar narrow sense. "Consumer", today, does not just mean someone who eats to survive, or wears clothes to keep warm; in its modern sense, it has the narrower meaning of someone who enjoys visiting restaurants and fashion boutiques, and who in some sense values good design. Broad and narrow senses of "composer" go with corresponding senses of "improviser".

In a broad sense, a composer is someone who puts things together, in a pleasing form. Composers in this sense have always existed. In a narrow, more modern sense - the sense we are most familiar with today - a composer is a nonperformer who controls performances of their own work, usually notated by means of a score. Analogously, in a broad sense, an improviser is someone who determines a significant number of the music's features as they play; in a narrow, modern sense, they are someone committed to post-Romantic ideals of spontaneity and originality. Conventional ideas of the score are relative to a system of notation - staff notation for instance - or at least a set of parameters. Thus there are closely-specified and more open scores.

For most contemporary Western musicians, the idea of a system of notation that leaves pitch open - as medieval notation did - is alien. But openness is always relative. John Cage was very specific in certain parameters, and not others; for instance, his Number pieces specify duration very closely, but not pitch or instrumentation. Graphic scores are interesting in particular, because they perhaps undermine the distinction between interpretation of a composed work, and improvisation.

Dahinden's Talking With Charlie is a mixture of conventional and graphic notation - bebop-sounding phrases inspired by Parker are notated. "I wanted an open-ended piece", Dahinden explains. The 43 pages of notated music aim to be very clear: "In a way I try to be very precise - and to be not precise", he adds. The group recorded the piece twice, six months apart - the first time, problems emerged with a couple of the mics, and so they decided to record again. "In the graphics the players find a balance of interpreting and improvising, together with my conducting", the composer comments. "Your phrase hit it: the graphics undermine the distinction between interpretation and improvisation". The interpretation is subjective, not like a code, to be worked out.

However, "the graphics emerge from the more precise notation of the composition - this is very important and comes quite naturally in playing", he continues. "So the players cannot understand the graphics without the context of the other aspects of the composition which are more precise. The musicians also respond to what they personally read in the graphics - there's a constant changing interplay between musicians and conductor". "I'm actively writing for these four instrumentalists - it's not only the instrument, it's also the person", Dahinden adds. It's a collaboration between the quartet and the composer, and as with Duke Ellington and his musicians, the results are personal, and of universal appeal."-Andy Hamilton

Get additional information at Dario Calderone Website
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