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Shocron, Paula / Pablo Diaz (special guest Guillermo Gregorio): Dialogos (Listen! Foundation (Fundacja Sluchaj!))

Argentinian improvisers Paula Shocron (piano) and Pablo Diaz (drums) invite masterful Argentinian clarinetist and Mivimiento Musica Mas founder Guillermo Gregorio to record these 14 collective improvisations in the studio in New York, drawing upon contemporary and jazz elements with virtuosic skill, revealing inventive and imaginative playing.
 

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product information:


UPC: 5905279364479

Label: Listen! Foundation (Fundacja Sluchaj!)
Catalog ID: FSR 09|2019
Squidco Product Code: 27789

Format: CD
Condition: New
Released: 2019
Country: Poland
Packaging: Cardboard Gatefold
Recorded at Scholes St. Studios, in New York, on August 2nd, 2017, by Rene Pierre.


Personnel:

Guillermo Gregorio-clarinet

Paula Shocron-piano

Pablo Diaz-drums

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Artist Biographies:

"Born in Buenos Aires, Argentina, in 1941, American composer and clarinet player Guillermo Gregorio has lived variously in Europe and the United States since 1986. Leading his Chicago-based trio and other ensembles, Gregorio has performed extensively, and his compositions have been recorded on numerous CDs by the Swiss label hatART and the American labels New World Records, Atavistic, and Nuscope, among others. His works have been played by noted New Music ensembles in the USA and Europe, among them Makrokosmos Ensemble (Switzerland) , Ensemble N_ER (EU), International Contemporary Ensemble (USA), Fonema Consort (USA), and the Maverick Ensemble (USA). In addition, as an instrumentalist, Gregorio has worked with many experimental and improvisational groups, including those that recorded the music of Cornelius Cardew, Anthony Braxton, and Philip Corner, among other contemporary composers (see discography for details).

As a composer and improviser, Gregorio has collaborated with Fred Lonberg-Holm, Ran Blake, Steffen Schleiermacher, Steve Swell, Jim O'Rourke, Ken Vandermark, Mats Gustaffson, Axel Dörner, Josh Abrams, Jeff Parker, Jason Adasiewicz, Carrie Biolo, George Graewe, Franz Koglmann, Thomas Lehn, Heiner Reinhardt, Le Quan Ninh, Akikazu Nakamura, Ab Baars, Sebi Tramontana, Mary Oliver, Klaus Koch, Gene Coleman, Enrique Gerardi, Paulo Alvares, Vinko Globokar, Makrokosmos Quartet, François Houl, and Stephen Dembski, among others.

He participated in the Argentine experimental music scene throughout the 1960s, '70s, and early '80s. His involvement with New Music included both composing and playing clarinet, saxophone and miscellaneous instruments in the Movimiento Música Más (Fluxus Group), the Experimental Group of Buenos Aires, and the Group of Contemporary Music of La Plata, featuring Fluxus events, multi-media spectacles, environmental pieces, and experimental concerts. Some of his earlier work in Argentina is available in the CD Guillermo Gregorio: Otra Música. Tape Music, Fluxus and Free Improvisation in Buenos Aires 1963-70 (Atavistic UMS/ALP209CD). After leaving Buenos Aires Gregorio had the opportunity to experience the European creative music scene of the middle '80s, i.e. the fruitful convergence of Free Jazz and 20th-century music and its interconnections with visual art. The interaction with composers and artists of that milieu constituted an indelible mark in his further explorations.

Gregorio-a visual artist himself-has frequently explored the intersection of visual and musical experience. His involvement in visual arts and design is a central influence in his music. In his series entitled "Madi Pieces" and "Coplanars" (1999-2005) Gregorio used Constructivist and geometrically generated ideas in scores ranging from conventionally notated material to graphic systems and open structures. In these compositions, a reinterpretation of the fundamental and structural concepts of Constructivism converges with the historical experiences of Argentinean Conceptualism, Fluxus, intermedia synthesis, and graphic realization. In January 2001, he founded the Madi Ensemble of Chicago, which performed original and historical scores that draw from the conceptual foundation of diverse Argentinean avant-garde currents. His scores related to that period have been exhibited in numerous shows at galleries and institutions, among them the Block Museum of Art (Northwestern University, Evanston, IL), Chelsea Museum of Art (NY), Kettle's Yard Gallery (University of Cambridge, UK), and Elastic, Sound & Vision Gallery (Chicago). Some of Gregorio's works belong to the permanent collections of the MADI Museum and Gallery in Dallas, Texas, and the Centre d'Art Geometrique MADI in Paris. His works have been published in Leonardo, Journal of the International Society for the Arts, Sciences and Technology, Notations 21 (Mark Batty Publisher), Noon Literary Annual, and other specialized publications. His series of pieces entitled "Otra Música" (2005 to the present), composed using conventional notation, focus on history and critical issues as well as syntactic aspects of texts and music. Still maintaining the openness of the works from the former period, the name of the series-"Otra Música"-refers to the title of a monthly column on experimental and avant-garde sounds that Gregorio wrote for a specialized magazine in Buenos Aires during the early '70s. Currently, Gregorio's interests are related to improvisation and "composition in real time" playing clarinet, in addition to the aforementioned compositions.

Gregorio has a degree in Architecture, and has worked as a graphic designer. As an educator he taught history and theory of architecture at the University of Buenos Aires, Argentina, and history of industrial design and visual communication at the University of La Plata, Argentina. In the USA he has taught history of 20th-century art and art appreciation at Purdue University North Central, Indiana, sound improvisation at the School of the Art Institute, Chicago, and worked as advisor of Grad Projects in the Sound Department of that School. At the present time Gregorio teaches History of Communication Design at Columbia College, Chicago."

-Guillermo Gregorio Website (https://ggregorio.com/biography/)
11/13/2019

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"Paula Shocron is a pianist, composer, improviser, performer, music activist, and educator.

Born in the city of Rosario, she gained great exposure at the local media since she was nominated and won the Jazz Revelation Award in 2005.Her debut album 'La voz que te lleva', Blue Art Records; had excelent reviews in national and international press.

The Paula Shocron Trio was one of her most important groups, between 2007 and 2013. It has gained recognition nationally and internationally, having played in different festivals in Argentina and abroad including Festival Casa de Teatro in Santo Domingo, Dominican Republic in 2009; Jamboree Barcelona, Terrassa Jazz Cava, The Concert series in Contrabaix, Catalunya, Spain and Buenos Aires Sur Scene, Paris, France.

Among her most important recordings works are "Homenaje" (2009, Sony Music) dedicate to the pianist and composer Andrew Hill; "El Enigma" (2010, Aqcua Records) with saxophonist Pablo Puntoriero; four recordings under the argentine label Rivorecords "Our Delight" (2011), "Warm Valley" (2012), "Serenade in Blue" (2012); "See See Rider" (2013), a piano solo; "Gran Ensamble" (Aqcua Records, 2011) and her first independent release "Surya" (digital version by Kuai Music).

She manages the independent label Nendo Dango Records in collaboration with Miguel Crozzoli and Pablo Diaz. It includes all her last works: "Anfitrion", by SLD Trio with Germán Lamonega on bass and Pablo Díaz on drums. "Sono-Psico-Cósmica", a two piano live recording with pianist and cornetist Enrique Norris. "Cooperative Sound ", with Matt Lavelle, Ras Moshe, Daniel Carter, Hilliard Greene and Pablo Diaz.

In 2016, SLD Trio was offered by Werner Uehlinger (hatOLOGY/Hat Hut Records) to record a second cd, "Tensegridad", released in 2017.

She has been working as artist and currently as Artistic Director with "Creatividad en Movimiento", a non-profit organization focused on the sustainable development of the creative arts.

In 2012 she began to develop her main project, "PROYECTO IMUDA", in order to investigate the relationship between music and movement. The aim was to find common codes to both artistic disciplines and work in spontaneous situations through improvisation. Over the years, these experiments began to mix with other artistic activities like painting, literature and performing arts. This group performed in different places in Argentina and abroad.

Since 2006 she teaches piano and ensamble at Jazz Career of The Manuel de Falla Music Conservatory. She also coordinates a regular workshop which main purpose is to explore the relationships between music and movement."

-Paula Shocron Website (http://www.paulashocron.com.ar/bio.php)
11/13/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in Buenos Aires in 1985.

He has played, and in some cases recorded with local and international musicians. He has played in the most representative places in Buenos Aires, and he has toured around Argentina, Spain, France and USA.

He has been playing with the Enrique Norris Trío since ten years ago, with which he recorded ten albums. Currently he is part of the projects of Enrique Norris, Paula Shocron (IMUDA), SLD Trío, among others, and he regularly or eventually collaborates with different local and international artists.

He has been working as artist and currently as General Director with Creatividad en Movimiento, a non-profit organization focused on the sustainable development of the creative arts.

He is founding member of Nendo Dango Records, an independent label he carry on with Paula Shocron and Miguel Crozzoli.

Since 2010 he has been leading his own ensembles and he has three albums as leader: Pablo Díaz Cuarteto (2013), Mouna (2014), both available on KUAI Music catalogue, and his last album Destemporizador (2016), released by Nendo Dango Records.

He has also participated in different collaborations: Anfitrión (2015) by SLD Trío with Paula Shocron and Germán Lamonega, Tierra (2016) in duo with Miguel Crozzoli, and Cooperative Sound (2017) with Matt Lavelle, Ras Moshe, Daniel Carter, Paula Shocron and Hill Greene. All released by NendoDango Records.

As an educator, he teaches drums, complementary drums and rhythmic training in the Escuela de Música Contemporánea."

-Pablo Diaz Website (http://www.pablodiaz.com.ar/p/acerca-de-mi.html)
11/13/2019

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track listing:


1. Aria Nro. 1 5:09

2. Micromatismos Nro. 1 1:05

3. Walking Down 3:18

4. Aria Nro. 2 3:49

5. Dialogos Nro. 1 2:28

6. Perspectiva Axonometrica 4:50

7. Dialogos Nro. 3 3:00

8. Inwood-Brooklyn 4 Hs. 6:28

9. Micromatismos Nro. 2 0:52

10. Micromatismos Nro. 3 1:44

11. Dialogos Nro. 4 2:56

12. Dialogos Nro. 5 2:38

13. Micromatismos Nro. 4 1:42

14. Sounds Brewing 3:14
sample the album:








descriptions, reviews, &c.

"There are many layers of dialogue to this music, many Diálogos. Obviously the music itself constitutes a dialogue among the artists, and between a clarinet, a piano, and percussion. And the fourteen improvisations carry on a dialogue among themselves. But some other layers of dialogue seem worth mentioning.

What does it mean that two talented and intrepid Argentine musicians in their 30s, who often incorporate dance, sculpture, and experimentation in their work-Paula Shocron and Pablo Díaz-have pushed themselves and travelled a great distance with no commercial or institutional support, and sought out Guillermo Gregorio, a man who provided a significant if not widely noted chapter to the art history of Argentina, and then left the country before they were even born?

Well-known to fans of contemporary/improvised music in the northern hemisphere since the 1990s, in the late-1960s Gregorio was one of the founders of the countercultural Movimiento Música Más, an Argentinian multi-media art movement that paralleled, but was independent of, what was known as Fluxus. Identifying a collective need for openness, humor, and fresh approaches to culture and politics in a calcifying political climate that would soon harden into the brutality of the mid-1970s (aided and abetted by the USA-look up "Operation Condor" if you don't know what I'm talking about), the MMM staged aesthetic interventions in public spaces often using unsuspecting observers. Subversive, surreal, iconoclastic art isn't generally appreciated by authoritarian regimes and before long external pressures were too much and the MMM dissolved. Gregorio eventually made his way to Europe, and then-ironically given its role in Argentina-the United States.

Shocron and Díaz came of age in a different Buenos Aires in the 1990s and 2000s and were able to study music and become accomplished jazz musicians. Shocron was identified early by the established Buenos Aires classical and jazz infrastructure as a piano prodigy and virtuoso and kicked off the early part of her career making half a dozen cds in a mainstream jazz mode and receiving attention and support. Despite the "success" she found herself feeling empty and unsatisfied. Around 2011 she had an epiphany and began to take the reins of her art and life in new ways, centering on a search for forms of music-making an expression which felt complete and honest, and to which she felt deeply connected.

In the endeavor to enact her vision she was joined by Pablo Díaz, an expert player of the drum set, an inventive percussionist who finds new sounds in old materials, and something of an organizer and community activist. Needing external stimulus the two made several trips to New York where they found themselves fitting in nicely with the likes of Cooper-Moore, William Parker, Daniel Carter, Roy Campbell Jr., Ras Moshe Burnett, Matt Lavelle, Hilliard Greene, Stephanie Griffin, and myself. They made several recordings with these musicians on their Nendo Dango label, performed in hospitable venues like Downtown Music Gallery, Muchmore's, and Soup & Sound, and in 2017 their trio CD with fellow Argentinian bassist German Lamonega, "Tensegridad," was released on HATology. By 2019 they had also toured in Europe and received a prestigious grant from the Robert D. Bielecki Foundation.

One could write much about Guillermo Gregorio's tone and intervallic figurations, the way he weaves his voice through the architecture of the piano and drums. Or Paula Shocron's constantly replenishing imagination and volcanic energy, her humor and brilliance. (Side note: she's a phenomenal dance improviser and when she can do both piano and dance in a single performance...this may be my favorite-another kind of Diálogo). One could write a lot about Pablo Díaz' incisive drumming, the deep knowledge of the instrument on display every time he plays, and his curation of materials that generate unforeseen energies and environments (like a new form of weather) for others to move through. This is the music of three wise and very skilled musicians, not delivering an oration, preaching, advertising, not straining their voices, or being reduced to a whisper. It is not political music or music of witness in an overt sense, but given the context, conversing together in a open, relaxed, and imaginative way is itself political. It seems to me that this is part of a dialogue with history, and one hopes the world is listening."-Andrew Drury, from the liner notes

Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
Trio Recordings
South & Central American Improvisation
Collective Free Improvsation
New in Improvised Music
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