Shibolet, Ariel / Alexander Frangenheim
A Set Of Music Played On June 17th
"More like un-cropped images on a contact sheet, then burned and dodged portraits, this eight-track, 33-minute CD is a literal record of an improvisational session between two sound experimenters of divergent backgrounds but shared inte...
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Label: Creative Sources
Catalog ID: cs318
Squidco Product Code: 21649
Packaging: Cardboard Gatefold
Recorded at Studioboerne45, in Berlin-Weissensee, Germany, on June 17th, 2014, by Alexander Frangenheim.
Ariel Shibolet-soprano saxophone
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• Show Bio for Ariel Shibolet
"Ariel Shibolet Born in1972 in Israel. Played the cello and had classical education in his youth. Started playing the saxophone in 1992. Member of the "Kadima Collective" for improvised music and the "Tel-Aviv Art Ensemble". Organizer and co curator of the monthly Tel Aviv Meetings at evontin 7.
Performs regularly in Israel, the United States and Europe. published his first cd at "Leo REcords" and since then another dozen collaborating with israely and international musicians.. His CDs recordings and concerts are remarkably reviewed world wide.
played at the "total Music Meeting" Berlin 2007 and 2008, and at the "Moers Festival" 2010 among other musical events in europe and the us and israeli festival such as: "whight night" in tel aviv, the tel aviv jazz festival, Hagad festival and more.
created improvised music for animation films and documetry by Gerd Conradt.
taught improvised music to children in several projects in berlin 2008-2012. the 2008 group performed at the "Total music meeting 2008", the 2011 project was recorded and will be published as a cd at "nur nicht nur" - a German label for improvised music, sumer 2013.
published his method for teaching improvised music to children in "expressiv & explorohrativ", a book about the use of improvised music with children.
Over these years played with
Birgit Ulher (GER), Damon Smith (USA), Joelle Leandre (FRA), Jhon Butcher (GBR), Eddie Prevost (GBR), Martin Blume(GER), Phil Waxmann(GBR), Marcio Mattos(GBR), Wolfgang Fuchs (GER), Sophie Angiel (FRA), Chriss Cutler (GBR), Mazen Kerbaj(LEB Scott R.Looney (USA), Jen Baker (Aurora Josephson (USA), Jerome Bryerton (USA), Dror Fauler (SWE), Klaus Janek (GER), Chad Taylor (USA), Martin Klapper (CEZ), Peter Friss nielsen (DAN), Christer Irgens-Moller (DAN), John Dikeman (Egypt), Reut Regev (USA), Yigal Phoni(USA), Olga Magieres (DAN), Niels Winter (DAN),
Mark Oleary and many more...
Haggai Fershtman, Nori Jacoby, Jean Claude Jones, Harold Rubin, Rran Zachs, Alex Drull, Yoram Lachish, Daniel Hofman, Shmil Frenkel, Rami Gabai, Albert Beger, Yoni Silver, Ronny Brener, Michel Mayer, Adi Snir, Offer Bymel, Eran Zachs, Tom Soloveizic' Daniel Sarid, Dana Waxman, Yonatan Avishay, Eitan Radushinski, Shlomi Shaban, Yuval Mesner, Adi Hershko, Anat Pick, Karni Postel, Maya Dunitz, Steve Horenstein, Yiftach Kadan and more...."-Ariel Shibolet Website (http://www.arielshiboletmusic.com/bio)
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^ Hide Bio for Ariel Shibolet
• 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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^ Hide Bio for Alexander Frangenheim
1. Zweistaatenlosung 1 4:20
2. Zweistaatenlosung 2 2:50
3. Zweistaatenlosung 3 3:22
4. Zweistaatenlosung 4 8:13
5. Zweistaatenlosung 5 4:54
6. Zweistaatenlosung 6 3:47
7. Zweistaatenlosung 7 3:42
8. Zweistaatenlosung 8 2:48
sample the album:
"More like un-cropped images on a contact sheet, then burned and dodged portraits, this eight-track, 33-minute CD is a literal record of an improvisational session between two sound experimenters of divergent backgrounds but shared interests. Raw and reflective at the same time, A Set of Music Played on June 17th substantiates the universality and vitality of improvised music Wuppertal-born Alexander Frangenheim, 56, in whose Berlin studio the disc was recorded, is a veteran bassist who is involved in multi-media projects and over the years has played with everyone from trumpeter Axel Dorner to pianist Chris Burn. Tel Aviv-native Ariel Shibolet, 44, has like Frangenheim, taught music, organized concerts and worked in different media. The soprano saxophonist has expanded his musical partnership to Europe and the US with the likes of bassist Joelle Leandre and pianist Scott R. Looney, and this particular set of interactions may be buttressed since he studied cello in his youth. In fact there are times on the CD when the textures rubbed or blown from the players' respective instrument are so congruent that it takes a time to distinguish one from another. Even in repose there are some similarities, as on the first track where the saxophonist's watery cross blowing is mated with the bassist's loggy pulls. Downtime is relative though, since most of the session is concerned with how many sharpened or jagged textures cam be shaken, spewed, sprawled or shoved from either instrument. Mostly pacing themselves like well-trained contenders in a long-distance race, the crescendo of intensity occurs on "zweistaatenlosung 7". Here, as if he's broken free for one event in a marathon, Shibolet's trilling vibratos rush out in a stream of multiphonics. For his part, like a coach normalizing his charge's output with proven techniques, Frangenheim mutes the reed explosions with curbed bow swipes and crunching vibrations. While a track such as "zweistaatenlosung 5" expands the tonemelding so that it appears as if each partner has reached a staccato limit, this idea of going beyond accepted virtuosity is best expressed on "zweistaatenlosung 4". As Shibolet emphasizes the metallic qualities of his horn, and Frangeheim concentrates on exploiting his bull fiddle's wood and catgut elements, an escalation of guillotine-sharp twangs and wounded animal-like yelps emanate from both players. Having demonstrated that like the guitarist in the film Spinal Tap they can take the sound past up to proverbial 11, they shift tactics and with narrower and narrower timbres and briefer and briefer soundings dissolve the duet to a rewarding conclusion. Functioning memorably in miniature, perhaps the next step is for the bassist and saxophonist to expand their duet at a greater length and perhaps with more partners. That too would be worth hearing."-Ken Waxman, JazzWord
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European Improv, Free Jazz & Related
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