The complete Freedom Of The City 2007, 1st The London Improvisers Orchestra alone, then the Glasgow Improvisers Orchestra (invited by Evan Parker) then both together.
London & Glasgow Improvisers Orchestras
Separately & Together (Freedom of the City 2007)
Released in: Great Britain
Excerpts from sleeve notes:
"For the 2007 FREEDOM OF THE CITY festival, Evan Parker invited the Glasgow Improvisers Orchestra to perform both by itself and with the London Improvisers Orchestra. The result was a concert in three parts: the LIO alone; the GIO alone; and the two combined. That concert is heard complete on these two CDs in the order of performance.
It should be pointed out that neither orchestra was complete - they never are due to the other commitments of the members - so not too much should be read into any personnel changes from previous recordings. For instance, one very regular member of the LIO had a gig in Belgium that evening and another was recuperating from an operation, while several of the Glaswegians were unable to make the journey south.
This concert marked the end of a two year period during which the LIO's monthly concerts had consisted of two continuous sections of music each of which contained alternating improvisations and conductions segued together. The starts and ends of the conductions are not always obvious, but they have been marked after consulting both my stop watch and the conductors.
After an IMPROvised INTROduction, PHILIPP WACHSMANN took up the baton and led the London Improvisers Orchestra in his conduction ON THE POINT OF INFLUENCE:
On this occasion a fairly free floating form ensued taking up on the improvisations and context that had already developed. Some dream-like scenes were merged and the overall pulse slowed down in an alternative way. The balance between improvisation and directed events favoured the former. Modes of playing were introduced, such as the spread plucked chords, lyrical lines on individual string instruments and varied momenti in the wind. It was an interaction between conductor and orchestra and came out of and returned to free improvisation without a formal break. PW
The second free improvisation was followed by STUDY FOR OPPY WOOD directed by ASHLEY WALES, who had wanted to compose music about this painting by John Nash for some time.
A string-dominated improvisation led to HIVE LIFE by ALISON BLUNT, who describes her conduction as "Hearing what is happening and bringing focus to it." At times she asked the string players to use their voices, which vied against muted brass and rhythmic piano and bass. A central extended section had subdued saxophones at its core, leading to further subdued playing used as a backdrop to guitar and percussion.
The Glasgow Improvisers Orchestra's set consisted of three separate pieces. The first two were devised (but not conducted) by GEORGE BURT and EMMA ROCHE respectively - the third was a free improvisation full of BIG IDEAS, IMAGES AND DISTORTED FACTS.
SEVEN SISTERS (FOR BARRY GUY): Last year I was lucky enough to see the Peter Brötzmann Chicago Tentet and the Barry Guy New Orchestra within a few weeks of each other. Although the two ensembles are more or less the same size, and have some of the same musicians, the music they produce is, to say the least, very different. This piece is the result of trying to puzzle out how and why this should be. Guy often uses different groupings within his large-ensemble pieces to give the listener the experience of hearing a three-dimensional structure. This is what I've tried to do here. Each member of GIO gets a post-it note with a crude diagram showing a sequence of symbols indicating full ensemble, duos (close together or far apart), trios and solos or other groupings. Just before we begin to play, I indicate which players make up the small groups. The length of the sections and all the material is improvised. GB
STAGIONE: .I love the fact that GIO is made up of musicians from so many disparate backgrounds. We are all on our own individual musical trajectories starting from wildly different places and journeying through varied genres and experiences, and then in GIO all our paths come together. I am fascinated by the idea that sometimes the only common denominator in the room could be the exact time that we end up making music together in the same place, and this piece is inspired by that.
The piece in divided into 'seasons' and each one has suggested motifs which in turn are modelled on patterns visible in the night sky at different points in the year. The seasons pass into each other organically without a prescribed indication until gradually we move to a point where everyone is playing from suggested material taken from constellations that are permanently visible. ER
For the last part of the evening, the two orchestras combined (for the first time) and somehow 44 musicians (and a sizable audience) managed to fit into the Red Rose. The musicians were positioned according to their instruments, rather than their home town, to form a single entity. First up was 811 JOINT RESPONSE conducted by DAVID LEAHY.
What is the role of a conductor with a group of talented improvising musicians, who have more than enough experience to not need someone in front of them telling them what to do? This is a question that I ask myself very regularly, particularly as I tend to put myself forward to conduct the LIO most first Sundays of the month when I am in London. I suppose I use the question to police myself so to ensure that what I am offering the ensemble is adding to the overall outcome. I also really enjoy the challenge of conducting, and trying to find the balance between dictating how and when people can play and letting the musicians do what they do so well, which is responding freely to what is happening all around them. As the conductor you find yourself at times being; an observer, a set of ears for everybody who can't hear the really special but quiet touch that someone is adding in the far corner to the enormous tutti, a limiter (when you want to highlight that little drowned out sound) and finally someone who is very grateful for the opportunity to stand in front of such a great group of musicians.
With this conduction, I am particularly pleased with the quieter interplays that happened within the Orchestra; the unpitched reeds accompaniment to Terry Day near the start, the trios that sprung out of the tuttis, the guitar and violin duet, the bass clarinet moment backed by the strings and voice, the low brass responses to the voice and finally the piano coda helped along by the brass. (Ok, so that one isn't so quiet). DL
1+1=DIFFERENT was conducted separately and together by UNA MacGLONE & RAYMOND MacDONALD. MacGlone conducted the first 6:20, handing over the baton in full flight to MacDonald who took over until 12:55, when they combined. For the double conduction the band was split in two down the middle of stage. MacDonald worked with the right hand side with most of the brass, and MacGlone had the left hand with most of the strings. There were no other explicit instructions made other than the fact that, since MacDonald had the noisier side of the band, he would take extra care to make space for the quieter side.
In GIO, conduction and then double conduction developed organically from a desire to explore the channels of communication and musical results afforded by this technique. These channels can be between the two conductors and between different sections of the band. The technique can celebrate chance events and play with the tensions and unconscious processes which arise from improvising in this way. Unlike many other large improvising ensembles, GIO does not use conduction as its primary means of structuring pieces. Rather, GIO's practice has evolved by negotiating free improvisation along with a variety of other approaches of which conduction is one. UM & RM
The final piece of the evening was OUTLAW conducted by DAVE TUCKER.
The prospect of conducting two orchestras was a little daunting at first. There is the danger that cacophony and incoherence can predominate what happens (too much of a good thing?) as well as the practical considerations. Thanks to good communication, that was avoided and any doubts about the LIO & GIO performing together were soon put to rest after hearing how different the two large groups sounded. Everyone was attentive and followed the cues intuitively throughout, seamlessly blending the structured and improvised material that developed.
The title OUTLAW refers to the fact that improvised music is the only form of performed and recorded music that has not been assimilated and diluted for mass market consumption and corporate interests. The scene is propelled by the efforts of musicians and fans and makes for a unique environment I have not witnessed in any other musical endeavours. DT
This concert certainly did create a unique environment as well as a lot of very fine music. It can now be relived, or newly experienced if you had the misfortune not to be there."-Martin Davidson (2007)
• Show Bio for Lol Coxhill
"George Lowen Coxhill (19 September 1932 - 10 July 2012), generally known as Lol Coxhill, was an English free improvising saxophonist and raconteur. He played the soprano or sopranino saxophone. Coxhill was born to George Compton Coxhill and Mabel Margaret Coxhill (née Motton) at Portsmouth, Hampshire, UK. He grew up in Aylesbury, Buckinghamshire, and bought his first saxophone in 1947. After national service he became a busy semi-professional musician, touring US airbases with Denzil Bailey's Afro-Cubists and the Graham Fleming Combo. In the 1960s he played with visiting American blues, soul and jazz musicians including Rufus Thomas, Mose Allison, Otis Spann, and Champion Jack Dupree. He also developed his practice of playing unaccompanied solo saxophone, often busking in informal performance situations. Other than his solo playing, he performed mostly as a sideman or as an equal collaborator, rather than a conventional leader - there was no regular Lol Coxhill Trio or Quartet as would normally be expected of a saxophonist. Instead he had many intermittent but long-lasting collaborations with like-minded musicians.
In the late 1960s and early 1970s, he was a member of Canterbury scene bands Carol Grimes and Delivery and then Kevin Ayers and the Whole World. He became known for his solo playing and for work in duets with pianist Steve Miller and guitarist G. F. Fitzgerald. He was thought to have largely inspired Joni Mitchell's song "For Free", while busking solo on the old footbridge which formed part of the Hungerford Bridge between Waterloo and Charing Cross. Coxhill collaborated with other musicians including Mike Oldfield, Morgan Fisher (of Mott the Hoople), Chris McGregor's Brotherhood of Breath and its musical descendant The Dedication Orchestra, Django Bates, the Damned, Hugh Metcalfe, Derek Bailey and performance art group Welfare State.
He often worked in small collaborative groups with semi-humorous names such as the Johnny Rondo Duo or Trio (with pianist Dave Holland - not the bassist of the same name), the Melody Four (characteristically a trio, with Tony Coe and Steve Beresford), and The Recedents (with guitarist Mike Cooper and percussionist Roger Turner), known as such because the members were (in Coxhill's words) "all bald", though the name may additionally be a play on the American band the Residents. Typically these bands performed a mix of free improvisation interspersed with ballroom dance tunes and popular songs. There was humour throughout his music but he sometimes felt it necessary to tell audiences that the free playing was not intended as a joke. Coxhill was compere and occasional performer at the Bracknell Jazz Festival, and a raconteur as well as a musician; he often would introduce his music by saying the words, "what I am about to play you may not understand". It was following a performance at Bracknell that he recorded the melodramatic monologue Murder in the Air."-Wikipedia (https://en.wikipedia.org/wiki/Lol_Coxhill)
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• Show Bio for Caroline Kraabel
"Caroline Kraabel (born 1961 in Torrance, California) is a London-based American composer, improviser and saxophonist. She is known for her research into the implications of electricity related to recording, synthesis and amplification.
After living in Seattle, Kraabel moved to London while in her teenage years, at the end of the punk era. There she took up the saxophone and became active in London's improvised music scene, eventually developing a style based on the physicality of the instrument, extended techniques and acoustics. She has performed solo and collaborated with John Edwards, Veryan Weston, Charlotte Hug, Maggie Nicols, Phil Hargreaves, and the London Improvisors Orchestra among others. She has also organized and conducted pieces for Mass Producers-a 20-piece, all-female saxophone/voice orchestra and for Saxophone Experimentals in Space-a 55-piece group of young saxophonists, as well as with her two children during walks through the streets of London.
Recordings include Transitions with Maggie Nichols and Charlotte Hug, Five Shadows with Veryan Weston, Performances for Large Saxophone Ensemble 1 and 2 and Performances for Large Saxophone Ensemble 3 and 4 with Mass Producers and a solo work Now We Are One Two.
Caroline Kraabel has been hosting a weekly radio show on London's Resonance FM and is the editor for the London Musicians Collective's magazine Resonance."-Wikipedia (https://en.wikipedia.org/wiki/Caroline_Kraabel)
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• Show Bio for Evan Parker
"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."
Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.
He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.
Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."
A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."
While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."
The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".
Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.
Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "-Evan Parker Website (http://evanparker.com/biography.php)
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• Show Bio for Alison Blunt
"Growing up in Kenya and Cumbria and starting out as a classical violinist, Alison Blunt has become an internationally respected artist creating music utilising or consisting of improvisation, Her solo and collaborative projects often reach beyond the music stage and involve film, text, dance, theatre and visual art.
Alison Blunt was born in Mombasa, Kenya, grew up in Nairobi and subsequently in the Lake District, UK. Finding her way from a classical violin training at Birmingham Conservatoire and the Guildhall School of Music and Drama, Alison's fascination with sound, motion and space has led her into national and international projects exploring the boundaries between art forms and genres and creating, performing and recording new music.
She has performed new and creative work in contrasting environments including Royal Albert Hall, BFI, Southbank Centre, Barbican, Sage Gateshead, Sesc Pompeia (Brazil), MS Stubnitz (Germany), Boat Ting, Colourscape Music Festival, Little Angel Theatre, Vortex Jazz Club, Cafe Oto, Colston Hall, Symphony Hall, Buckingham Palace Gardens, Latitude Festival, Bimhuis (Holland), SoundOut Festival and ACME (Australia), Musikhuset Aarhus (Denmark), St Magnus Festival & Mull Theatre (Scotland), European Storytelling Marathons (Holland & Belgium), Alte Gerberei (St Johann, Tirol), MS Stubnitz, Radialsystem, & B-Flat (Germany), Stockwerk Jazz Club (Styria), Wunderbar (South Island NZ) and The Kosmos (New Mexico USA) with a diverse array of creative artists including Apartment House, Apocryphal Theatre Company, Renee Baker, Julia Barclay-Morton, Barrel, Barcode Quartet, Cristiano Calcagnile, Lawrence Casserley, Viv Corringham, Guy Dartnell, John Edwards, Vinny Golia, HANAM Quintet, Elisabeth Harnik, Tristan Honsinger, Cat Hope, Birthe Jorgensen, Tony Marsh (RIP), Hannah Marshall, Lisa Mezzacappa, Gianni Mimmo, Phil Minton, Lode, London and Berlin Improvisers Orchestras, Evan Parker, Pierette Ensemble, Reciprocal Uncles, Gino Robair, Mark Sanders, Guillaume Viltard, Ove Volquartz and Michael Zerang.
Alison's activities range from composing for film, visual arts, theatre and contemporary dance productions to touring solo musical storytelling performances, from performances with interdisciplinary ensembles to arranging and recording children's albums, from gigging with rock bands to gigging with world folk music artists, from writing about new music to performing and recording new music. Alison resists being pigeonholed."-Alison Blunt Facebook Page (https://www.facebook.com/AlisonBluntMusic/about/?ref=page_internal)
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• Show Bio for Hannah Marshall
"Hannah Marshall is a cellist who is continuing to extract and invent as many sounds and emotional qualities from her instrument as she can , playing experimental & freely improvised music and collaborating with other musicians, theatre and performing artists in the UK and Europe. She trained at The Guildhall school of music and Drama from 1992-1996. She plays regularly with The London Improvisors Orchestra and has performed at various festivals including VNM-Graz, Freedom of the City - London, Fete Qua Qua, Nickelsdorf-Konfrontationen, Banlieue Bleu-Paris, Jazz em Agosto-Lisbon, Barcelona Horta Cordel, ring ring-belgrade, Wels Unlimited- Austria, Alpen Glow - UK/Austria, Taktlos, Nantes festival, Saalfelden jazz festival, Red Ear Amsterdam, thirstyfish festival - London, Konfrontationen, Akouphene-Geneva, Europa Jazz Festival, Joyful Noise Festival- Swtizerland, Blurred Edges Festival- Hamburg. She has been invited by Fred Frith, Thomas Lehn and Suichi Chino in their residencies at café Oto, and by Evan Parker in his monthly residency at The Vortex Club."-Music Teachers UK (https://www.musicteachers.co.uk/user/6fdca7e3c5ca7ab082f8/biography)
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• Show Bio for Dominic Lash
"Born Cambridge, England, in January 1980; played bass guitar since 1994; studied with Hugh Boyd and Pascha Milner and at Basstech (London) with Rob Burns, Terry Gregory and others. Played double bass since 2001; basically self taught, with grateful thanks to Simon H. Fell. First class BA in English Literature from Oxford University (2002). Received MA Composition from Oxford Brookes University in 2003, having studied with Paul Whitty, Ray Lee and others. Received PhD from Brunel University in 2010, having studied the work of Derek Bailey, Helmut Lachenmann and JH Prynne and been supervised by Richard Barrett and John Croft."-Dominic Lash Website (http://dominiclash.blogspot.com/p/dominic-lash_5.html)
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• Show Bio for David Leahy
"David Leahy is a Kent (UK) based musician and dancer specialising in things improvised, from Free Improvisation in music to Contact Improvisation in dance.
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• Show Bio for Veryan Weston
"Born in 1950, and moved from Cornwall to London in 1972 and began playing as a freelance jazz pianist as well as developing as an improviser at Little Theatre Club.
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• Show Bio for Javier Carmona
"Javier Carmona is a drummer and percussionist from Madrid (now settled in Barcelona after seven years in London), Javier is very active in the European free improvisation scene and has performed with musicians such as John Tchicai, Evan Parker, Carlos Zingaro and John Russell, among many others.
Member of several formations, Javier also collaborates with dancers Rosa Aledo and Saija Lehtola in Kicking Louise & Co., a dance company that has presented work in France, Cyprus, Spain and England.
Organizer of FIL Malaga, a festival of free improvised music including performances and workshops, Javier has also led student workshops about free improvisation in Newport University (with Kamil Korolczuk), Westminster University (with Sakoto Fukuda) and Huddersfield University (with Ingrid Laubrock and Olie Brice).
Co-founder alongside graphic designer and electronics player Kamil Korolczuk of Oso Records, a netlabel of free downloadable music focused on releasing various types of experimental music."-Javier Carmona Website (https://carmonajavier.wordpress.com/about/)
^ Hide Bio for Javier Carmona
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Shipping Weight: 6.00 units
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Catalog ID: 4219
Squidco Product Code: 9657
Format: 2 CDs
Country: Great Britain
Packaging: 2 CDs in a single Jewel tray
Recorded at 2007 Freedom Of The City festival concert, Red Rose, London, May 6, 2007 by Rick Campion & Sebastian Lexer.
London Improvisers Orchestra: [A1 - 7, B2 - 4]
Terry Day-Bamboo Pipes
Dominic Lash-Double Bass
David Leahy-Double Bass
John Bisset-Electric Guitars
Dave Tucker-Electric Guitars
Javier Carmona-Drum Set
Glasgow Improvisers Orchestra: [A8 - 9, B1 - 4]
John Burgess-Bass Clarinet
Una Macglone-Double Basse
Armin Sturm-Double Basse
Rick Bamford-Drum Set
Stuart Brown-Drum Set
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A1. IMPRO INTRO improvisation 5:35
A2. ON THE POINT OF INFLUENCE conducted by Philipp Wachsmann 9:09
A3. PW TO AW improvisation 3:12
A4. STUDY FOR OPPY WOOD conducted by Ashley Wales 6:19
A5. AW TO AB improvisation 2:20
A6. HIVE LIFE conducted by Alison Blunt 12:36
A7. TOO LATE, TOO LATE, IT'S EVER SO LATE conducted by Terry Day 5:34
A8. SEVEN SISTERS (for Barry Guy) conceived by George Burt 11:26
A9. STAGIONE conceived by Emma Roche 11:21
B1. BIG IDEAS, IMAGES AND DISTORTED FACTS improvisation 11:44
B2. 811 JOINT RESPONSE conducted by David Leahy 13:23
B3. 1+1=DIFFERENT conducted by Una MacGlone & Raymond MacDonald 19:59
B4. OUTLAW conducted by Dave Tucker 10:34