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
Related Categories of Interest:
European Improv, Free Jazz & Related
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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 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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