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Evans, Peter / Agusti Fernandez / Barry Guy : Free Radicals At DOM (Listen! Foundation (Fundacja Sluchaj!))

Radical masters of free jazz--Spanish pianist Agusti Fernandez and British bassist Barry Guy--meet young(er) radical trumpeter Peter Evans at the Moscow Cultural Center DOM for this 2017 concert of free improvisation, a fiery and informed concert of two sets, each in three parts, and an encore, showing technical mastery, inventive interaction, and sheer excitement in performance.

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product information:

UPC: 5905279364387

Label: Listen! Foundation (Fundacja Sluchaj!)
Catalog ID: FSR 15|2018
Squidco Product Code: 27488

Format: CD
Condition: New
Released: 2018
Country: Poland
Packaging: Cardboard Gatefold
Recorded at Dom Cultural Center, in Moscow, Russia, on November 6th, 2017, by Maxim Khaikin.


Peter Evans-trumpet

Agusti Fernandez-piano

Barry Guy-bass

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Artist Biographies:

"Peter Evans is a trumpet player, and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians and composers in the creation of new music. His primary groups as a leader are the Peter Evans Quintet and the Zebulon trio. In addition, Evans has been performing and recording solo trumpet music since 2002 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of the cooperative groups Pulverize the Sound (with Mike Pride and Tim Dahl) and Rocket Science (with Evan Parker, Craig Taborn and Sam Pluta) and is constantly experimenting and forming new configurations with like minded players. As a composer, he has been commissioned by the International Contemporary Ensemble (ICE), Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program, and the Doris Duke Foundation for the 2015 Newport Jazz Festival. Evans has presented and/or performed his works at major festivals worldwide and tours his own groups extensively. He has worked with some of the leading figures in new music: John Zorn, Kassa Overall, Jim Black, Weasel Walter, Levy Lorenzo, Nate Wooley, Steve Schick, Mary Halvorson, Joe McPhee, George Lewis, and performs with both ICE and the Wet Ink Ensemble. He has been releasing recordings on his own label, More is More, since 2011."

-Peter Evans Website (

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"Agustí Fernández (Palma de Mallorca, 1954), with a perfectly based career and a well-deserved international reputation, is one of the Spanish musicians of major international projection and a world reference in the field of improvised music. Fernández has worked with famous musicians of the free improvisation scene like Peter Kowald, Derek Bailey, Butch Morris, Evan Parker, Barry Guy, Mats Gustafsson, Joel Ryan and Peter Evans a.m.o. He is a member of the Blue Shroud Band, Mats Gustafsson NU Ensemble and Barry Guy New Orquestra. Up to the current date he has published more than 80 CD's

He has also worked with the recognised composer of contemporary music Héctor Parra, who composed in collaboration with the pianist FREC, a solo for expanded piano. FREC has been premiered at the Huddersfield Contemporary Music Festival in 2013 with the collaboration of the video artist Lucas Caraba. He has conducted various improvised music ensembles like Ad Libitum Ensemble (Varsaw), Free Art Ensemble (Barcelona), Ansambl Studio 6 (Lujbljana) Orquesta FOCO (Madrid), Entenguerengue (Jérez de la Frontera), Impromtu Ensemble (Valencia), etc.

Along his professional life Agustí Fernández has received much recognition. His solo for piano "Mutza" presented in New York in 2007 was distinguished by the New York magazine AllAboutJazz as one of 10 best concerts from that year. The CD "Un llamp que no s'acaba mai" on PSI (Agustí Fernández, John Edwards and Mark Sanders) has been distinguished by Allaboutjazz as one of the best 10 cd's in 2009; the CD "Aurora" on Maya Recordings (Agustí Fernandez, Barry Guy and Ramón López) was selected by Cuadernos de Jazz magazine as the best CD in 2007, by the Jaç magazine as the best fourth disc of the history of the Catalan jazz and it was Disc d'émoi (February, 2007) for the French Jazz Magazine. The "Agustí Fernández Aurora Trio" received the second prize at the BMW Welt Jazz Award 2012 celebrated in Münich, Germany. In 2000 he received the Festival Altaveu Award, Sant Boi de Llobregat (Catalonia). In 2001 he received the FAD - Sebastià Guasch Award, Barcelona (Cataluña) with Andrés Corchero por el or the performance "A modo de esperanza". In 2011 Agustí Fernández was the main character of the documentary film "Los dedos huéspedes" by Lucas Caraba, which has been screened in several international festivals of documentary. In 2014 the Ad Libitum Festival (Warsaw) dedicated a monographic edition to celebrate Fernández's 60th Birthday.

He's professor of improvised music at the Escuela Superior de Música de Catalunya (ESMUC). He's developing an important teaching activity in the field of improvised music and, among other, he has been teaching in IRCAM in Paris, the Estonian Academy of Music and Theatre de Tallin, the Royal Conservatory in The Hague (Holland), the Conservatory in Arhem (Holland), the Taller de Músicos in Gijón (Spain), the Taller de Músics in Barcelona (Spain) and the Conservatorio Superior de Música in Salamanca (Spain)."

-Agusti Fernandez Website (

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"Barry John Guy (born 22 April 1947, in London) is a British composer and double bass player. His range of interests encompasses early music, contemporary composition, jazz and improvisation, and he has worked with a wide variety of orchestras in the UK and Europe. He also taught at Guildhall School of Music.

Born in London, Guy came to the fore as an improvising bassist as a member of a trio with pianist Howard Riley and drummer Tony Oxley (Witherden, 1969). He also became an occasional member of John Stevens' ensembles in the 1960s and 1970s, including the Spontaneous Music Ensemble. In the early 1970s, he was a member of the influential free improvisation group Iskra 1903 with Derek Bailey and trombonist Paul Rutherford (a project revived in the late 1970s, with violinist Philipp Wachsmann replacing Bailey). He also formed a long-standing partnership with saxophonist Evan Parker, which led to a trio with drummer Paul Lytton which became one of the best-known and most widely travelled free-improvising groups of the 1980s and 1990s. He was briefly a member of the Michael Nyman Band in the 1980s, performing on the soundtrack of The Draughtsman's Contract.

Guy's interests in improvisation and formal composition received their grandest form in the London Jazz Composers Orchestra. Originally formed to perform Guy's composition Ode in 1972 (released as a 2-LP set on Incus and later, in expanded form, as a 2-CD set on Intakt), it became one of the great large-scale European improvising ensembles. Early documentation is spotty - the only other recording from its early years is Stringer (FMP, now available on Intakt paired with the later "Study II") - but beginning in the late 1980s the Swiss label Intakt set out to document the band more thoroughly. The result was a series of ambitious, album-length compositions designed to give all the players in the band maximum opportunity for expression while still preserving a rigorous sense of form: Zurich Concerts, Harmos, Double Trouble (originally written for an encounter with Alexander von Schlippenbach's Globe Unity Orchestra, though the eventual CD was just for the LJCO), Theoria (a concerto for guest pianist Irène Schweizer), Three Pieces, and Double Trouble Two. The group's activities subsided in the mid-1990s, but it was never formally disbanded, and reconvened in 2008 for a one-off concert in Switzerland. In the mid-1990s Guy also created a second, smaller ensemble, the Barry Guy New Orchestra.

Guy has also written for other large improvising ensembles, such as the NOW Orchestra and ROVA (the piece Witch Gong Game inspired by images by the visual artist Alan Davie).

His current improvising activities include piano trios with Marilyn Crispell and Agusti Fernandez. He has also recorded several albums for ECM, which often focus on the interface between improvisers and electronics, including his work in Evan Parker's Electro-Acoustic Ensemble and his own Ceremony.

Guy's session work in the pop field includes playing double bass on the song "Nightporter", from the Japan album Gentlemen Take Polaroids.

He is married to the early music violinist Maya Homburger. After spending some years in Ireland, they now live in Switzerland. They run the small label Maya, which releases a variety of records in the genres of free improvisation, baroque music and contemporary composition.

Guy's jazz work is characterised by free improvisation, using a range of unusual playing methods: bowed and pizzicato sounds beneath the bass's bridge; plucking the strings above the left hand; beating the strings with percussion instrument mallets; and "preparing" the instrument with sticks and other implements inserted between the strings and fingerboard. His improvisations are often percussive and unpredictable, inhabiting no discernible harmonic territory and pushing into unknown regions. However, they can also be melodious and tender with due regard for harmonic integration with other players, and at times he will even play with a straight jazz swing feel.

Similarly, in his concert works, Guy manages to alternate harmonic and rhythmic complexity worthy of 1960s experimentalists such as Penderecki and Stockhausen with joyous, often ecstatic, melody. Works such as "Flagwalk" for string orchestra and "Fallingwater - Concerto for Orchestra" display Guy's compositional skill in handling extended forms and writing for large instrumental groups.

Some of his compositions, such as "Witch Gong Game" for ensemble, use graphic notation in conjunction with cue cards to lead performers into playing and improvising material from numbered sections of the score.

He is also an architect."

-Wikipedia (

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track listing:

1. First Set - One 11:21

2. First Set - Two 16:59

3. First Set - Three 6:37

4. Second Set - One 6:50

5. Second Set - Two 9:05

6. Second Set - Three 11:19

7. Encore 6:09
sample the album:

descriptions, reviews, &c.

"The energy of making music and abstract thinking. And very quick, mutual reactions, thanks to close, accurate listening. Sometimes I am surprised by how we are oriented to each other and how quickly, we make decisions to each other, change the direction and form of music for a fraction of a second. Incredible music!

The above words by Agustí Fernández - articulated during the interview, which will be available in a moment on the pages of - are certainly enough for the entire review of the album Free Radicals at DOM .

Another unprecedented meeting of two musical brothers, said pianist and Barry Guy, here also made with the participation of Peter Evans, who feels great in the company of both older colleagues. We perfectly remember the EFG trio (the third one was of course Mats Gustafsson), and also a tasty duet with Barry on last year's album Syllogistic Moments . We do not forget, of course, about the participation of all three of the larger squads usually led by the British bassist.

Now, after all, we are moving to the Moscow Cultural Center DOM. It is the beginning of November 2017. Peter Evans on the trumpet, Agusti Fernandez on the piano and Barry Guy on the double bass. The concert included on the CD Free Radicals At DOM (Fundacja Słuchło !, 2018) consists of two sets and an encore, here on the album, divided into seven separate parts. It will take 68 minutes and 22 seconds.

One . The concert is born in the depths of the prepared piano, with a ballad pizzicato double bass and a small trumpet, for now, deeply hidden under the black cloak. The musicians start a slow march towards the land of happiness of the listeners, including the reviewer. A warm-up, which after a short while becomes a state of fluent narrative. From the start, the musicians communicate with each other, we do not see any default entities on the stage. Trio, like a team of simultaneous reactions - eruptions, volleys and thunder. Parallel imitations, meticulous retorts. A masterful descent into the silence and equally impressive jumps into space, all thanks to invisible signaling. In addition, fabulous instrumental technique and compulsive imagination. Dramatically organized freedom of improvisation, subjected here to permanent change. Volts of energy and passages of balladizing post-jazz.

Two . Singing piano preparations and classical for Guy struggling with the glaze of strong strings - such a duo to start with. The trumpeter enters after 90 seconds, in small steps, standing on the squares. The three of them draw unique neat scribbles . An exotic keyboard dance, a ludic bow and a cloak of noise in the valves. Another imitations, collegial repetitions, flowers in your hair. By the way, the dynamics of the entire narrative worthy of free jazz classics. In the 9th minute Evans falls silent again, takes a breath, lets his partners go to the catwalk, then returns, sensually biting between the double bass strings. After another two minutes a new tale: the trumpet rhythmically snorts, the bass prepares from the bottom of the baroque , in the background quiet keys - a new, beautiful and exceptionally calm situation on the stage. After a while, the musicians release their senses from the gentleness cocoon and return without undue delay to the main, still gusty stream of the concert. On the decay, the power of liberated chamber music.

Three . Piano and trumpet in search of the complete unity of time and space. The double bass enters the thunder. A little game of silence and dramatic suspension. Small harmonies and shreds of melody on the bar, from the valve, on warm keys. After a moment of gallop, the musicians again enter the state of free chamber music and with the sapper's precision they are looking for the last sound.

Four . It seems that one sound is enough to find an understanding with your partner. After two sounds a telepathic bond is born, and after three it becomes one musical body. An example of compulsive dance over the abyss. A sticky, wonderful story that can not be tamed. Emotions spurt from every side of the stage, real fury! And what stopping! ??

Five . Agusti prepares the piano while at the same time practicing her throat before the expected attack of a convulsive cough. Prychy and jerks right next to it. Evans hisses through the vents and pulls his colleagues to psychedelic mischief. But here everyone has a handful of their ideas - action, reaction, cassation! Conversations on the sun-scorched fire. Then the dialogue of the trumpet and double bass, again with a hint of melody. But also preparations and sharp sonorities, and volcanic eruptions, and waterfalls of sweat and blood! And the episode finale is again a reverie, dark spot of chamber music.

Six . A double-bass introduction! Single shots from under the piano lid, gurgling valves. Dygot of drum sticks, pushed in between the strings. Guy's masterpiece ! The power of mysterious sounds from every side of the stage, although it's almost a solo contrabass. Melodious commentary of the trumpet, deep foam preparations. The most unusual part of the concert - repetitions, imitations, but also brazen plots. They come out of this beautiful, creative chaos together, effectively seeking lost harmony and melodic bites. Opus magnum for the finale of the main part of the concert.

Encore . Jumping on the rope, frivolous convulsions, spectacular amplitudes of the trumpet. A dance step for the well-deserved golden fleece and the highest review of the reviewer! A handful of small, fun Evans passes, strings and piano in a twisted rhythm. Imitations and fireworks at a gallop. Well, a few seconds' ovation!"-Tribune of Spontaneous Music (translated by Google)

Get additional information at Tribune of Spontaneous Music
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