Rolfsson, Matilda / Richard Sanderson / Mark Wastell
Live at l'Klectic
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The subtly complex trio of Richard Sanderson on amplified melodeon, dictaphones & small percussion, Mark Wastell on tam-tam & shruti box, and Matilda Rolfsson on percussion performing an extended improvisation live at The Horse Improv Club, l'Klectic, London.
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Catalog ID: ccs 46
Squidco Product Code: 20883
Country: Great Britain
Packaging: CD in a tin case
Recorded by Adrian Northover at The Horse Improv Club, l'Klectic, Lamberth, London on 28th April 2015
Richard Sanderson-amplified melodeon, dictaphones, small percussion
Mark Wastell-tam-tam, shruti box
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• Show Bio for Richard Sanderson
Richard Sanderson (born 7th October 1960, Saltburn): "I'm originally from Middlesbrough in the North East of England, but I've lived in London since 1985. I started off playing guitar and singing in punk and post-punk bands in Teesside. The most successful of which, Drop (1978-1979) was championed by Julian Cope who praised the band's "sheer confidence and succinctness". Drop have been dragged out of retirement a couple of times in the 21st Century, and may be again. In 1980 I released a 12" EP with the band Tick Tick that has remained resolutely underground ever since.
Since arriving in London, I gravitated towards the improvised music scene, initially playing toys, samplers and electronics alongside musicians such as Adam Bohman, Mark Browne, Mike Walter, Mark Wastell, Chris Burn, and others before joining the band Ticklish with Kev Hopper, Phil Durrant and video artist Rob Flint. Other groups I was in included Kelsey Michael's widescreen pop octet "Minnow" and a trio with Steve Beresford and Anna Homler. From the late '90s onwards I played many gigs throughout the UK experimental scene as well as at festivals in Germany, Austria, Holland, Denmark and France. I was also active as a promoter, organising clubs such as The Club Room (with Mike Walter and John Russell), Reaction Time, The Departure Lounge and Baggage Reclaim. For nearly 10 years I was a director of the London Musicians Collective.
In the last 7 years my interests have widened to include traditional English music and dance, taking up morris dancing (with Blackheath Morris Men) and the melodeon (a diatonic button accordion). As well as playing solo gigs with amplified melodeon, I play in the Horse Trio with Sue Lynch (saxophone and flute) and Hutch Demouilpied (trumpet), and in a trio with Mark Browne (saxophone and small instruments) and Daniel Thompson (acoustic guitar) . I'm also continuing to make music with Mark Spybey and my cousin Mark Sanderson - a collaboration that has lasted over 40 years.
In 2012 I started the label Linear Obsessional Recordings to release music by experimental musicians from around the globe under a Creative Commons licence.
In 2015 I started organising concerts at The ArtsCafe in Lewisham, South London."-Richard Sanderson Website (https://richardsanderson.weebly.com/biog.html)
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01. Untitled 27:43
sample the album:
"This was my first trip to series of improvised music curated by Sue Lynch at The Horse at Cafe I'Klectik in SE London. What a treat! The evening opened with a sensitive and controlled duo of Hutch Demouilpied (trumpet, flute), Keisuke Matsui (guitar, electronics) this was followed by an intense and beautiful trio of Maggie Nichols (vocals), Caroline Kraabel (alto saxophone) and Charlotte Hug (viola, voice).
This I thought a very hard performance to follow. But the trio of Richard Sanderson (amplified melodeon, dictaphones and small percussion), Mark Wastell (tam-tam, shruti box) and Matilda Rolfsson (percussion) captured all that lay still in the air and produced a set of more, controlled, sensitive, beautiful and creative music.
At times it was hard to exactly locate where the sounds emerged from as the melodeon clicked to the drone of cymbals pulled across the surface of a drum and the tam tam shimmered in response to electronic sound boxes. At one point a small cowbell signalled the music to develop in a new direction and then again small sounds of stones striking together and then hitting the wooden rim of the drum ushered in the fuller overtones of the gong against repetitive figures on the melodeon that rose to complete the piece. As I left familiar words, on the outside wall of the cafe, reminded me as long as I listen and "gaze on Waterloo sunset I am in paradise". "-Stuart Wilding
London & UK Improv & Related Scenes
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