The large Glasgow Improvisers Orchestra, led by Raymond MacDonald, met trombonist George Lewis in 2012 at CCA in Glasgow to record this two part work based on a set of instructions presented graphically, plus an extended free improvisation.
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Catalog ID: FMR 366-1013
Squidco Product Code: 18465
Country: Great Britain
Recorded at the CCA, Glasgow on December 2nd, 2012 by Kenny Macleod.
George Burt-acoustic guitar
Neil Davidson-electric guitar
Fergus Kerr-french horn
George Lyle-double bass
Raymond MacDonald-alto saxophone, soprano saxophone
Jim McEwan-rhodes, electronics
Una MacGlone-double bass
Armin Sturm-double bass
Graeme Wilson-tenor saxophone, baritone saxophone
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1. Artificial Life 2007: Page One 10:00
2. Artificial Life 2007: Page Two 18:40
3. Free Improvisation 19:54
London & UK Free Improvisation Scene
sample the album:
"Arttfical Life 2007 3 tracks were recorded at the CCA in Glasgow in early December 2012 and was produced by Una Macglone and one of the saxophonists with the band. Raymond MacDonald's GIO (Glasgow Improvisers Orchestra) have now thoroughly established themselves as one of the most interesting and creative large improvisin ensembles in the UK, and had done many collaborations with great improvisers across the globe. GIO first worked with George Lewis in 2003 This new version of George Lewis' Artificial Life 2007 was recorded at Glasgow Improvisers Orchestra's tenth-anniversary festival in 2012. The innovative US trombonist and composer's score is a set of instructions, presented graphically on a grid, which the musicians respond to as they see fit. When, what and how to play is up to them, unless indicated otherwise. The result is an extremely detailed music, based on textural rather than harmonic or rhythmic development."-FMR
• Show Bio for George Lewis
"George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A 2015 Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, Lewis has received a MacArthur Fellowship (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 140 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Boston Modern Orchestra Project, Talea Ensemble, Dinosaur Annex, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Lewis has served as Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC Fitt Artist In Residence, Brown University.
Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society's Music in American Culture Award. Lewis is co-editor of the two-volume Oxford Handbook of Critical Improvisation Studies (2016), and his opera Afterword, commissioned by the Gray Center for Arts and Inquiry at the University of Chicago, premiered at the Museum of Contemporary Art Chicago in October 2015 and has been performed in the United States, United Kingdom, and the Czech Republic.
Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and Simon Fraser University's Contemporary Arts Summer Institute. Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey."-Columbia University (http://music.columbia.edu/bios/george-e-lewis)
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• Show Bio for Maggie Nicols
"Maggie Nicols (or Nichols, as she originally spelled her name as a performer) (born 24 February 1948), is a Scottish free-jazz and improvising vocalist, dancer, and performer.
Nicols was born in Edinburgh as Margaret Nicholson. Her father was from the Isle of Lewis, and her mother is half-French, half-Berber from North Africa. At the age of fifteen she left school and started to work as a dancer at the Windmill Theatre. Her first singing engagement was in a strip club in Manchester at the age of sixteen. At about that time she became obsessed with jazz, and sang with bebop pianist Dennis Rose. From then on she sang in pubs, clubs, hotels, and in dance bands with some of the finest jazz musicians around. In the midst of all this she worked abroad for a year as a dancer (including a six-month stint at the Moulin Rouge in Paris).
In 1968, she went to London and joined (as Maggie Nichols) an early improvisational group, the Spontaneous Music Ensemble, with John Stevens, Trevor Watts, and Johnny Dyani, and the group performed that year at Berlin's then new avant-garde festival, Total Music Meeting. In the early 1970s she began running voice workshops at the Oval House Theatre (one of the most important centres for pioneer fringe theatre groups). She both acted in some of the productions and rehearsed regularly with a local rock band. Shortly afterwards she became part of Keith Tippett's fifty-piece British jazz/progressive rock big band Centipede, which included Julie Tippetts, Phil Minton, Robert Wyatt, Dudu Pukwana, and Alan Skidmore. Tippetts, Minton, and Nicols also joined Brian Eley to form the vocal group Voice. Around the same time Nicols began collaborating with the Scottish percussionist Ken Hyder (who had recently moved to London) and his band Talisker.
Maggie Nicols recorded an album with the vocalist Julie Tippetts called Sweet and S'Ours which was an FMP]] import.
By the late 1970s, Nicols had become an active feminist, and co-founded the Feminist Improvising Group, which performed across Europe, with Lindsay Cooper. She also organised Contradictions, a women's workshop performance group that began in 1980 and dealt with improvisation and other modes of performance in a variety of media including music and dance. Over the years, Nicols has collaborated with other women's groups, such as the Changing Women Theatre Group, and even wrote music for a prime-time television series, Women in Sport.
Nicols has also collaborated regularly over the years with Swiss pianist Irene Schweizer and French bassist Joelle Leandre, including tours and three recordings as the trio "Les Diaboliques". Her collaboration with Ken Hyder also continues; the duo incorporate elements of the traditional tunes of their shared Scottish background into jazz improvisations in their most recent project, Hoots and Roots Duo. She has worked with pianists Pete Nu and Steve Lodder, with her own daughter, Aura Marina, with avant-gardists Caroline Kraabel and Charlotte Hug, and with lighting designer Sue Neal in Light and Shade. She performed internationally for several decades, including the Zürich and the Frankfurt "Canaille" festivals, the Victoriaville Festival. She gave solo performances at the Moers Music Festival, the Cologne Triennale, and a number of other creative and improvised music festivals."-Wikipedia (https://en.wikipedia.org/wiki/Maggie_Nicols)
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