Live recordings from this great pair of improvisors, selected from their performances at Festival des musiques de creation in Saguenay and at La Sala Rossa in Montreal.
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Label: Ambiances Magnetiques
Catalog ID: AM 175
Squidco Product Code: 10572
Packaging: Cardstock foldover
Recorded on May 17th, 2007 at La Sala Rossa in Montreal, CA by Bernard Grenon.
Fred Frith-electric guitar, processing, voice
Danielle P. Roger-drums, percussion, voice
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• Show Bio for Fred Frith
"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.
In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.
The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.
He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.
His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.
Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."-Fred Frith Website (http://www.fredfrith.com/biography.html)
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1. Dernier Cri 4:20
2. Arpeggio's Dreamscape 4:01
3. Sala Rossa 3:04
4. L'Auberge Des Quatre Vents 1 8:10
5. L'Auberge Des Quatre Vents 2 6:31
6. Sala Nera 7:29
7. Jeux De L'oblivion 8:26
8. Adieu Jonquière 4:23
sample the album:
"This meeting with Fred Frith was a jubilation from start to finish. One of those precious moments where trust rules and energy flows. We had never played together, but it was bound to happen. The initial impetus for this duo came from a Carte blanche offered by Pierre Dumont of the Festival des musiques de création in Saguenay. To me, it seemed appropriate to honor that Carte blanche with this project with Fred. And as long as we were dragging him to Québec, we had to take the opportunity to present this "rare" duo in Montréal, at La Sala Rossa. This CD is not the faithful reproduction of one of these concerts, but a collage featuring highlights from both evenings. Fred and I have mixed and edited separately, from the live recordings. I have worked from a superimposition of the two concerts, while Fred worked on stripping them down. Since I did not have the distance necessary to make the final editing decisions, I asked DAME label's honcho (and my dear friend and super-colleague) Joane Hétu to bring the CD project to a close. So here you have a work of excellent audio quality that faithfully communicates the energy and telepathy Fred and I experienced together."-Danielle Palardy Roger
"So much time spent discussing improvisation—seminars, symposia, conferences, thesis papers, the ever important considerations of history and gender and race and politics and why this and why that, and what's essential and what's next, and who came first and who's who and who are you? Mercifully, the act of improvising slips the broader discourse in an instant. It only works when you are in the moment, and in the moment all else disappears. Playing with an old friend, exchanging musical glances, passing the time of night, showing, telling, crying, shouting, spurring each other on, celebrating the fact that we're still here, still alive, and still have plenty to say to each other."-Fred Frith
"I feel a natural affinity with Fred, because of his deep roots in rock and traditional music, but mostly because of his devouring passion for improvised music. Music by means of which we improvisers communicate with the other improvisers and the audience. A here-and-now moment where improvisers can project and share, on the spot, their essence, ideas, and understanding; their way of driving the action, feeding the discussion, bouncing back, supporting or concluding a proposition. This is one of these moments where we creators are the most completely engaged in creation and the present time. Improvised music is like an extreme sport…"-Danielle Palardy Roger
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