WTTF Quartet (Wachsmann / Turner / Thomas / Frangenheim)
Active since 1997, the quartet of Alexander Frangenheim (double bass), Roger Turner (percussion), Pat Thomas (piano & electronics) and Philipp Waschsmann (violin & electroncis) in a wildly creative cross of non-idiomatic improv flavored by the London scene.
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Label: Creative Sources
Catalog ID: cs313
Squidco Product Code: 21494
Packaging: Cardboard Gatefold
Recorded at Studioboerne45 in Berlin, Germany, August 26th 2014
Pat Thomas-piano, electronics
Philipp Wachsmann-violin, electronics
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1. More Way 5:23
2. Take It Back 6:02
3. Little More Front 6:27
4. Less Little More 6:47
5. Slightly Front 3:39
6. Back To More 6:37
7. Front Less More Little 4:41
8. That More 9:02
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sample the album:
"Creative Sources continues to publish Alexander Frangenheim's music extensively, most recently with Berlin Kinesis, an album by the WTTF Quartet: Philipp Wachsmann (violin), Roger Turner (percussion, also on the recently discussed in this space Blood Samples), Pat Thomas (piano), & Frangenheim. The album, recorded in August 2014, somewhat unusually for Creative Sources, features tracks with titles, and also continues (also true of Cloud Voices) the move to packaging without plastic. (Although I respect the latter, I'm not thrilled with the naked cardboard sleeves when it comes to either convenience or preservation.)
The WTTF Quartet is the result of Frangenheim's time in London in the 1990s, and indeed their first & previous album, Gateway '97 (recorded in 1997) was released (for the first time) on Creative Sources in 2013. So this is something of a reunion item, and the English trio of the quartet spent time years ago with Derek Bailey, et al. Compared to the albums Rodrigues creates & typically publishes, Berlin Kinesis features a prominent & fairly traditional piano part, and its discrete character does color the interaction: The album has a distinctly "classical" sound with its typical dodecaphonic licks & string creaking set against insistent chords. It comes off as somewhat industrial (not so unlike Anomonous, although Berlin Kinesis has no horn, and sounds more classical) in its clanks & creaks. The shifting rhythms even become clock-like at times, marking a real dual to Cloud Voices in the music of this very different quartet. I expect this album will please a broader audience, particularly people who enjoy the older English scene."-Todd McComb, Medieval.org
At The Squid's Ear!
Get additional information at Todd McComb's Jazz Thoughts, Medieval.org
• Show Bio for Alexander Frangenheim
"Born in Wuppertal, he studied sculpture at the academy of fine arts in Stuttgart and at the same time classical Doublebass with Reinald Schwarz, soloist of Stuttgart Philharmonics. Having encountered experimental music in his youth, beside classical playing he soon ventured into free improvisation as well as working with graphic notations in the ensemble of composer Klaus Fessmann, who holds a professorship at Salzburg Mozarteum. After having met Günter Christmann in the early 90s, who became a close friend over the years, a grant offered the possibility to go to London, where he finally was able to explode into a most intense period of sessions, collaborations, concerts and recording sessions, this all with help by John Russell, Chris Burn and John Butcher. Back in Stuttgart he was asked to teach experimental music at the academy of fine arts Stuttgart, which he did for a period of ten years and which led him to extended sound and performance explorations in collaboration with his students. He continued to organize the festival concepts of doing - Interaktion Tanz Musik (1992 - 2003) and, after an intense trip through many european countries meeting dancers for free improvisations and an invitation to the 5th Composers Choreographers Exchange (Southbank Center London), he was co-founding the production center for dance and performance Stuttgart. Being the head of this association for three years and after the festival of concepts of doing 2003, he pushed these structures aside for regaining breath and new freedom and inner engagement in life and arts. At the same time this moment was accompanied by his last days in ensemble zeitkratzer, which he was member of since its beginning in 1997 (performances of famous MMM by and with Lou Reed as well as music by alva noto, Merzbow, Lee Ronaldo, Elliott Sharp, DJ's a.o.).
2005 saw him establishing himself in a space in Berlin to seek new projects. Since then he has recorded three cds, created the music for the experimental film "Lupinen löschen" by Sabine Schöbel, which was shown at the Berlinale 2007, and started to work with analog electronics on the acoustic double bass as well as on an electric one, introducing this to his collaborations with dance.
He played in groups... trio with Jim Denley and Steve Noble; duo with Phil Durrant (cd); quintet with Evan Parker, Phil Wachsman, Thomas Lehn, Roger Turner; duo with Günter Christmann (cd); "Ein Quartett" with Bieler-Wendt, Kolkowski, Zimmerlin; trio with Chris Burn and Axel Dörner.
Projects with Günter Christmann: Sextett Vario 34 (cd) und "con moto" (music, dance, sound poetry, film) with David Zambrano, Urs Leimgruber, Fine Kwiatkofski, Elke Schipper (dvd).
Concerts with... Paul Lovens, John Butcher, Phil Minton, Derek Bailey, Sven-Ake Johannson, David Moss, John Russell, Johannes Bauer, LeQuan Ninh, Dietmar Diesner, LaDonna Smith, Malcolm Goldstein, Fred Frith, Vinko Globokar, Barry Guy, Torsten Müller, Carlos Zingaro, Fred van Hove, Urs Leimgruber, Mats Gustafsson, Dorothea Schürch, Herb Robertson, Alberto Braida, Michael Griener, Yumiko Tanaka a.o.
Intense work with dancers in diverse performing and rehearsing situations.
Collaborations with Julyen Hamilton, Vera Mantero, Benoit Lachambre, Ingo Reulecke, Josè Luis Sultàn, Mark Tompkins, Junko Wada, Fine Kwiatkofski, Regina Baumgart, David Zambrano, Sasha Waltz, Katie Duck, Joachim Schlömer, Thomas McManus, Nigel Charnock, Xavier Le Roy, Frans Poelstra, Virpi Pakhinen, Russell Maliphant, Anzu Furukawa, Pal Frenak, Anna Huber, Andreas Müller, Astrid Endruweit, Jennifer Lacey, Lin Yuang Shang.
concepts of doing. Between 1992 and 2003 he organized the festival "concepts of doing - Interaktion Tanz Musik" which became an important european plattform for the exchange of the arts inviting many notable artists for free collaborations during 4 days. (Please see: www.concepts-of-doing.de). cd: "screen. Festival concepts of doing 1999" mit Yoshihide, Turner, Leimgruber, Schürch, Parkins, Newton, Frangenheim.
Critics: "mikrotonale Edelsteine" (Markus Müller, Jazzthetik), "deliciously subversive" (Cadence), "music straight from the dynamo" (The Wire), "Frangenheim uses extended string techniques Gidon Cremer supplied for Luigi Nono" (The Wire).
Lives in Berlin since 2005. In preparation for creative space for 2009, which will allow him to continue his work with dance and other media.
Projects: trio with Chris Burn and Axel Dörner; quartet with Thomas Lehn, Le Quan Ninh, Frederic Blondy; duo with Günter Christmann /as well as other formations; trio with Floros Floridis and Ray Kaczynski; cds in prep: quartet with Moss/Bauer/Tanaka, quartet with Turner/Wachsman/Pat Thomas. performance project "streugut" together with Clausen, Reulecke, Rudstrom, Simon."-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
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• Show Bio for Roger Turner
"Roger Turner (born 1946, Whitstable, England) is an English jazz percussionist. He plays the drumset, drums, and various percussion, and was brought up into the jazz and visual art cultures inhabited by his older brothers, playing drums from childhood in informal jazz contexts.
Turner studied English literature and contemporary philosophy at Sussex University, playing with Chris Biscoe for the British Council in 1968, a first concert in improvisation. His move to London gave him contact with the first and second generation improvisers and he began to play primarily with Lol Coxhill, Gary Todd, John Russell, Hugh Davies, Steve Beresford, and Phil Minton.
In the years immediately after 1974 his work was primarily concentrated on opening the way to a more personal percussion language. This was also a period of intense collaborations that structured many of his future approaches to music-making and saw the formation of two long-lasting acoustic duos with Phil Minton and with John Russell. Recordings of these duos document an extreme attention to timbre and pitch, as well as a constantly shifting speed that typified much of his work at the time. The duo with Minton toured extensively throughout Europe, USA and Canada.
In 1979 he established CAW records with John Russell and Anthony Wood, and recorded the solo album The Blur Between focussing on single surface improvisations: a linear and reduced equipment approach he had started using with Carlos Zingaro and others in live performances.
In addition to forming Trump music with Gary Todd to promote improvised music in London, he also involved himself in formative activities of the London Musicians Collective during this period. He was awarded Arts Council of Great Britain bursaries for solo percussion in 1980, and in 1983 for investigation into percussion with electronics. Extensive festival and club solo work followed, including the Bracknell Jazz Festival and the Brussels Festival of Percussion.
In 1982 the trio The Recedents was formed with Lol Coxhill and Mike Cooper exploring the possibilities of electro-acoustic music, in which Turner initially played drumset and EMS Synthi A as a means of bending the sounds of various metal percussion instruments. This group, still existing, mixes song, jazz, punk/thrash, with acoustic detail in always shifting sonorities, and has worked throughout Europe, Canada and the UK, also recording for the French Nato label. Involvements with experimental rock musics and open-form song included extensive work in duo with Annette Peacock 1983-5, with whom he toured in Europe and Scandinavia. They recorded the album I have no feelings for Ironic.
In 1984-5, he was invited for workshop residences at Alan Silva's Institute Art Culture Perception in Paris, where long-term collaborations with Alan began, culminating in The Tradition Trio with Johannes Bauer. This group was central to his explorations of forms of free jazz, an interest that has seen him working with musicians on both sides of the Atlantic (including Elton Dean, Irene Schweizer, Cecil Taylor, Roy Campbell, Henry Grimes, The Wardrobe Trio and Charles Gayle).
Since the early 1980s his work has focussed on numerous projects with improvising musicians and groups, touring Europe, Australia, USA and Canada. Perhaps the most important of the later groups would be Konk Pack, formed in 1997, with Tim Hodgkinson and Thomas Lehn, a group whose use of volume and sense of detail continues the exploration of an electro-acoustic dynamic that forms one of his main musical concerns. This group has toured extensively in Europe and USA.
He forged working relationships with Japanese musicians over the years: in the 1980s with Toshinori Kondo in the trio with John Russell, but since the mid-1990s in concerts and recordings with guitarist Kazuhisa Uchihashi in Austria, Japan, and U.K, and in the recent (2009) Hana-Bi three-day event in London that included the guitarist and the pianist Chino Shuichi.
An active involvement in visual art has always been in dialogue with his music, and an inspiration for it. In the forefront of this is his work with Susan Turcot (the investigation/documentation of music and sound-drawing both in Europe and Canada-including the Being Rich box collection --, and music for her 2008 animation film Bitumen, Blood, and the Carbon Climb.
His music for dance/performance includes work with Alexander Frangenheim's Concepts of Doing, Stuttgart ; Carlos Zingaro's Encontros projects in Lisbon and Macau; and most recently in the Josef Nadj production etc.etc. (premiered Vandeouvre, France, 2008) and which is a continuing involvement.
In March 2009 he was invited to travel and perform on the Arctic island Svalbard, and was also invited to attend and play in the Comprovise event in Cologne, Germany in June 2009, set up to examine any possible relationship between improvisation and composition.
Turner's music-making with international improvisers in ad hoc and group collaborations have since the 1970s to the present day included Toshinori Kondo, Derek Bailey, Fred Frith, Evan Parker, William Parker, Cecil Taylor, Otomo Yoshihide, Shelley Hirsch, Joelle Leandre, Keith Rowe, Ab Baars, Barry Guy, Barre Philips, Henry Grimes, Paul Rutherford, Gunter Christmann, Marilyn Crispell, Irene Schweizer, Frederik Rzewski, and Malcolm Goldstein."-Wikipedia (https://en.wikipedia.org/wiki/Roger_Turner_(musician))
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• Show Bio for Pat Thomas
"Born 27 July 1960; Piano, electronics. Pat Thomas started playing at the age of 8 and studied classical music and played reggae. He began playing jazz at sixteen after seeing Oscar Peterson on television then listened to snatches of jazz on the radio before, in 1979, playing his first serious improvised gigs. From 1986 he played with Ghosts which was Pete McPhail and Matt Lewis.
In addition to programming his keyboards, Pat Thomas also utilises prerecorded tapes. He told Chris Blackford (1991), 'As far as the tapes are concerned I'll probably just sit in front of the TV and tape whatever's going on and so some editing afterward to decide what might be useful. ...But I don't actually put a label on each tape saying what's on there, so when I come to use them I don't know what I'm going to be playing. That obviously prevents me from setting things up. I pick them at random and see what happens. So I'm just as surprised as anybody else at what comes out'.
In 1988 he was awarded an Arts Council Jazz Bursary to write three new electroacoustic compositions for his ten-piece ensemble, Monads: Roger Turner and Matt Lewis, percussion; Pete McPhail, WX7 wind synthesizer; Neil Palmer, turntables; Phil Minton, voice; Phil Durrant, violin; Marcio Mattos, bass; Jon Corbett, trumpet; Geoff Searle, drum machines. The intention was to feature different aspects of electronics using improvisation so, for example, one piece - Dialogue - featured Pete McPhail and Neil Palmer, another concentrated on the interaction of percussionists and drum machines, and a third piece had Phil Minton and Jon Corbett improvising with a computer. The pieces were performed at the Crawley Outside-In Festival of new music in 1989.
Pat Thomas was invited by Derek Bailey to play in Company Week in 1990 and 1991 and he also took part in the Ist International Symposium for Free Improvisation in Bremen with the guitarist. He has been a member of the Tony Oxley Quartet (documented on Incus CD 15) and played in Oxley's Angular Apron along with Larry Stabbins, Manfred Schoof and Sirone at the 8th Ruhr Jazz Meeting and in the percussionist's Celebration Orchestra. He plays with Lol Coxhill in a range of combinations from duo to being a member of 'Before my time', is a member of Mike Cooper's Continental Drift, and he has a well established duo with percussionist Mark Sanders and a trio with Steve Beresford and Francine Luce. In 1992 Pat Thomas formed the quartet Scatter with Phil Minton, Roger Turner and Dave Tucker; funded by the Arts Council they toured the UK in 1993 and again at the beginning of 1997.
On the 'Festival circuit', Pat Thomas has appeared at: the Young Improvisors Festival at the Korzo Theatre, Den Haag (with Jim O'Rourke, Mats Gustafsson and Alexander Frangenheim); Angelica 95 in Bologna, Italy; the Stuttgart 5th Festival of Improvised Music 96 (with Fred Frith, Shelly Hirsch, Carlos Zingaro and others); and the 3rd International Festival 96 in Budapest (with Evan Parker, Phil Minton, John Russell and Roger Turner).-EFI (http://www.efi.group.shef.ac.uk/mthomas.html)
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