Minimal sound sources and extraneous trumpet sounds using unusual techniques in a duo of subtle yet captivating recordings from these frequent collaborators.
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Label: Creative Sources
Catalog ID: cs155
Squidco Product Code: 11297
Packaging: Jewel Tray
Recorded between July 7 & December 11, 2007 at Heiner Metzger's flat in Hamburg by Heiner Metzger.
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• Show Bio for Birgit Ulher
"Born 1961 in Nuremberg, she studied the visual arts, which still have an important influence on her music. Since moving to Hamburg in 1982 she has been involved in free improvisation and experimental music. Since then she has "established a distinguished grammar of sounds beyond the open trumpet" (jazzdimensions.de). She works mainly on extending the sounding possiblities of the trumpet by using splitting sounds, multiphonics and granular sounds and has developed her own extended techniques and preparations for producing these sounds. Besides this material research she is especially interested in the relation between sound and silence.Since 2006 Birgit Ulher works with radios and uses extended speakers, fed with radio noise in her trumpet mutes. The trumpet functions as an acoustic chamber and modulates the radio noise, thus the trumpet is transmitter and receiver at the same time. Her work with radio is documented on the CD 'Radio Silence No More', released 2007 on Olof Bright.The same concept is the basis of the duo with Gregory Büttner, where Büttner plays his sound contributions via a laptop with an output to a small speaker which Ulher uses a s trumpet mute.Their first CD 'Tehricks' based on this concept was released 2009.She performs solo, with dancers, working ensembles, and one-time collaborations with musicians from around the world.
She has been organising the festival of improvised music Real Time Music Meeting for over ten years.
Music performances in Europe, USA, South America, Russia and the Middle East, together with UNSK (Birgit Ulher / Martin Küchen / Lise-Lott Norelius / Raymond Strid), the Trio PUT (with Ulrich Phillipp and Roger Turner), Nordzucker (with Lars Scherzberg and Michael Maierhof), Heiner Metzger, Martin Klapper, Tim Hodgkinson, Dorothea Schürch, Rhodri Davies, Robyn Schulkowsky, Michael Zerang, Damon Smith, Lou Mallozzi, Gino Robair, Ute Wassermann, Albert Márkos, Sven Ake Johansson, Gene Coleman, Ernesto Rodrigues, Heddy Boubaker, Tim Perkis, Bryan Eubanks, Ariel Shibolet, Christoph Schiller and Sean Meehan, Forbes Graham, Leonel Kaplan, Gregory Büttner, Lucio Capece, Eric Leonardson and Bill Hsu.
Lectures/Workshops at Queen's University of Belfast, Haifa University, SAIC - School of The Art Institut of Chicago, Hochschule für Musik Basel, Workshop Area Sismica in Forlí, Italy, Workshop Anáhuac 33, Mexico City, Workshop Galeria Mérida, Mérida Mexico and Certain Sundays, Berlin.
Residencies at AIR Krems, Austria 2017, ArtInRealeases - GIS Studio - AIR Mexico 2016, Mexico City, Künstlerhaus Lukas, Ahrenshoop 2015, QO-2 werkplaats, Brüssel, 2010, Casa Zia Lina, Elba, Italy, Foundation Thyll-Dürr, 2001 and 2003, Boswil, MKS, Switzerland, 1994"-Birgit Ulher Website (http://www.birgit-ulher.de/bio.htm)
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1. Eben 8:58
2. Gleicht 4:21
3. Diesmal 6:26
4. Noch 3:17
5. Blinzeln 8:09
6. Jedem 2:36
7. Lose 7:25
8. Nach 2:58
sample the album:
Minimal sound sources and extraneous trumpet sounds using unusual techniques in a duo of minimal yet captivating recordings. Ulher is well known for her eccentric trumpet stylings, a peer to players like Heddy Broubaker, Axel Dorner, or Nate Wooley in their interest in playing the instrument in unexpected ways, using close micing to pick up subtle nuances otherwise inaudible. She has performed with sound tablist Heiner Metzger in several small and large group setting, performing live and on recordings including releases on Balance Point Acoustics. Metzger's sound table allows a wide variety of percussive, tonal and continuous sound sources, organic yet exotic tones and rhythmic elements. Together the duo make an unusual music that bears repeated listening, and clearly both performers are listening to each other closely as they react in unexpected ways to each other's unusual output.
The Squid's Ear!
lowercase, micro-improv, sound improv
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