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Unusual instrumentation and interaction from the trio of percussionist Mike Goyvaerts (Canaries on the Pole), saxophonist Jeffey Morgan (releases on Headlight, Konnex) and EMS synthesist Willy Van Buggenhout.
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Label: Creative Sources
Catalog ID: cs218
Squidco Product Code: 16709
Packaging: Jewel Tray
Recorded on November 19th & 20th, 2011.
Mike Goyvaerts-percussion, objects, toys
Jeffrey Morgan-soprano saxophone, tenor saxophone
Willy Van Buggenhout-EMS synth
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• Show Bio for Jeffrey Morgan
"Jeffrey Morgan (born March 20, 1954) is an American jazz musician and composer. He has been heavily active in the fields of free jazz and improvised music.
Morgan started studying the Performing Arts: Music; Dance; Experimental Theater; Ethnomusicology; Philosophy of Aesthetics; and Eastern Religion at The Evergreen State College in Olympia, Washington in 1973. During his education he attended the legendary Creative Music Studio in Woodstock, NY, and studied under Karl Berger, Don Cherry, and Oliver Lake as part of his external studies program. Moreover, in 1976 he created his first compositional work for music and dance - Distress Mistress, and performed his first ensemble work, The Delirium Dimension.
In 1977 he created his first multi-media interdisciplinary work - Galactic Visions, a composition for music, dance, slide projectors, costumes, and light design. Over the next several years he conceptualized and composed a few collaborative interdisciplinary works, such as It's Only Money, C.A.S.H, Transient Landscapes; and Mykrocozm, wherein he also had directing and acting responsibilities. In 1982 Morgan co-founded Presto Chango, a musical theater/performance group that incorporated costumes and stage design along with Andrew Woodruff and Bob Heywood. Two years later together, along with Paul Hoskin, he co-founded the New Art Orchestra in Seattle, Washington. He also worked for Muzak as supervisor to re-evaluate their library of music.
In 1987, Morgan moved to Birmingham, Alabama and worked with dancers Mary Horn and Susan Hefner; he also started an ongoing collaboration with LaDonna Smith. In 1988, he made his first tour in Europe with the Seattle-based trio Clank together with Johnny Calcagno and Charly Rowen, as well as working with several international musicians from Denmark, England, Germany, and Czechoslovakia. Since 1991, he has resided in Cologne, Germany, remaining active in the field of jazz and improvised music. He has also engaged in collaborations with Alan Silva, Keith Rowe, Peter Kowald, Paul Lytton and Xu Feng Xia just to name a few.
From 1991 to 1996 he organized the Drang in Klang festival for experimental and improvised music, and in 1994 he established another open-door workshop for Conceptual Composition and Improvisation in Cologne, which led to invitations to lead other workshops in Bielefeld, Hamburg, Lisbon, Leeds and Wuppertal. Also, in 1994 he composed another interdisciplinary work entitled In the Shadow of the Gambler which was performed in Cologne and Krefeld. Moreover, he has led three classes through a group process focused on Installation and Performance: "Elements"; "Haunted House"; and "N-Station" respectively, at the Tekniske Skole in Copenhagen."-Wikipedia (https://en.wikipedia.org/wiki/Jeffrey_Morgan_(musician))
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1. Fire Jumpers! 5:49
2. The Silver Gates of the Moon 3:18
3. Garden of Delights 6:40
4. Wild Boar Hunting 4:21
5. A Treasure of Sulphur Clouds 6:27
6. The Dawn and the Dream 6:59
7. Wings and Arrows 11:11
8. Eagle's Dance 5:23
9. Burial Grounds 5:45
sample the album:
Unusual instrumentation and interaction from the trio of percussionist Mike Goyvaerts (Canaries on the Pole), saxophonist Jeffey Morgan (releases on Headlight, Konnex) and EMS synthesist Willy Van Buggenhout. Buggenhout and Goyvaerts are known for their electroacoustic duo Hotzeniebotsze, while Goyvaerts is also a long-term member of Fred Van Hove's W.I.M. (Workshop of Improvising Music). The trio use great technical skills and a unique approach to playing that mixes conventional and alien sounds with humorous asides, bizarre forays, and unexpected twists and turns. There's nothing predictable about their playing, nor is it dark or overly serious. You can hear joy in their playing, a sense that musical boundaries were made to be crossed, making a fun and captivating set of improvisations.
The Squid's Ear!
European Improvisation, Composition and Experimental Forms
Objects and Home-made Instruments
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