The Squid's Ear Magazine


Musique Action #4 (Marclay / Jauniaux / Minton / Yoshihide / Parkins / Weston / Vatcher / Luc Ex): M (Vand'Oeuvre)

The fourth of a collection dedicated to the French Musique Action Festival, here in a tribute to Tom Cora recorded in 1998 with Catherine Jauniaux, Phil Minton, Zeena Parkins, Christian Marclay, Otomo Yoshihide, Veryan Weston, &c. &c.
 

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product information:

Personnel:



Catherine Jauniaux-voice

Phil Minton-voice

Zeena Parkins-electric harp, keyboards

Christian Marclay-electronics, turntables

Otomo Yoshihide-electronics, turntables

Luc Ex-electric bass, voice

Michael Vatcher-percussion, drums

Veryan Weston-piano


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Label: Vand'Oeuvre
Catalog ID: vdo 1235
Squidco Product Code: 17691

Format: CD
Condition: New
Released: 2012
Country: France
Packaging: Jewel Tray
Recorded at the 15th Festival Musique Action in Vandoeuvre-les-Nancy, France, May 23, 1998.

Descriptions, Reviews, &c.

"In 1998, Marie-Noël Rio produces Sainte Jeanne des Abattoirs (inspired by Kurt Weill opera) at l'Atelier du Rhin in Colmar with 16 actors-singers, an original music written by Tom Cora and improvised music from himself, Zeena Parkins, Luc Ex and Michael Vatcher.At the same time, the four musicians have the idea to create Madame Luckerniddle, a band inspired by a personnage of the opera. The first concert is played in Colmar, another one should be done at the Musique Action festival in Vandoeuvre. Tom Cora died a short time before.

Musique Action #4 is the CD recording of the concert who took place on saturday 23 of may 1998 (Musique Action Festival) in tribute to the cellist, with Christian Marclay, Otomo Yoshihide, Zeena Parkins, Michael Vatcher, Catherine Jauniaux, Phil Minton and Veryan Weston.

This CD is the fourth of a collection dedicated to the Musique Action festival by Vand'Oeuvre label. The other CDs were respectively done in 1993, 1995, 2002."-Vand'Oeuvre



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"Catherine Jauniaux is a Belgian avant-garde singer. She has been described as a "one-woman-orchestra", a "human sampler", and "one of the best kept secrets in the world of improvised music". Her solo album, Fluvial (1983) is regarded as one of her most accomplished works. She was married to the late American experimental cellist and composer Tom Cora.

Catherine Jauniaux began her career as an actress in Belgium at the age of 15. During the late 1970s and early 1980s, she sang with several experimental rock groups, including Aksak Maboul and The Work. In 1983 she teamed up with The Work's Tim Hodgkinson (ex-Henry Cow) in London to record her first solo album, Fluvial. Jauniaux and Hodgkinson wrote most of the tracks for the album, which are "imagined folk songs" that include elements of "contemporary art song, African singing, Native American legends, and alien nursery rhymes". The album centres on Jauniaux's voice with additional instrumentation by Hodgkinson, Bill Gilonis (The Work), Lindsay Cooper (ex-Henry Cow) and Georgie Born (ex-Henry Cow). AllMusic rated the album as "highly recommended, especially to fans of unusual female vocal art."

In the early 1990s, Jauniaux moved to New York City, where she became part of the Downtown music scene, performing with a number of musicians, including Fred Frith, Tom Cora, Marc Ribot, Zeena Parkins, Butch Morris and Ikue Mori. Jauniaux founded the duo Vibraslaps with Ikue Mori and later married Tom Cora. In 1995 Jauniaux and Cora moved to Southern France where she continued performing with various European musicians, including Louis Sclavis, Heiner Goebbels, Otomo Yoshihide and Christian Marclay. Cora died in 1998.

Jauniaux works regularly with artists in the field of dance and film, and sang in Heiner Goebbels's opera, Roemische Hunde in Frankfurt in 1991. She is inspired by traditional music, both real and imagined, and her performances mix seriousness and humour. She explores sound, emotion, melody and abstraction, and her vocal improvisations range from "traditional French chansons to breathy folk to Dadaistic glossolalia"."

-Wikipedia (https://en.wikipedia.org/wiki/Catherine_Jauniaux)
4/10/2024

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

"Phil Minton comes from Torquay. He played trumpet and sang with the Mike Westbrook Band in the early 60s- Then in dance and rock bands in Europe for the later of part of the decade. He returned to England in 1971, rejoining Westbrook and was involved in many of his projects until the mid 1980's.

For most of the last forty years, Minton has been working as a improvising singer in lots of groups, orchestras, and situations, all over the place. Numerous composers have written music especially for his extended vocal techniques. He has a quartet with Veryan Weston, Roger Turner and John Butcher, and ongoing duos, trios and quartets with above and many other musicians.

Since the eighties, His Feral Choir, where he voice-conducts workshops and concerts for anyone who wants to sing, has performed in over twenty countries."

-Phil Minton Website (https://www.philminton.co.uk/8-2/)
4/10/2024

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"Multi-instrumentalist/composer/improviser, Zeena Parkins, pioneer of contemporary harp practice and performance, reimagines the instrument as a "sound machine of limitless capacity." Parkins has built three versions of her one-of-a-kind electric harp and has extended the language of the acoustic harp with the inventive use of unusual playing techniques, preparations, and layers of electronic processing.

Inspired and connected to visual arts, dance, film, and history, Zeena follows a unique path in creating her compositional works. Through blending and morphing of both real and imagined instruments, crafting, recombining, and layering mangled, sliced, massaged or possibly disengaged sounds, drawing from extra-musical sources for unusual scoring and formal constructions as well as utilizing multi-speaker environments, Zeena remains in process with sound as material and music, engaged in translations of sonic states in the concert hall, the black box theater, the dance studio, the recording studio, the classroom, the cinema, the skyscraper, the ocean and the gallery. Zeena has a particularly strong commitment to making scores for dance and continues to re-evaluate the nature and issues of the body's imprint on sound and sound/music's imprint on movement.

Parkins's compositions have been commissioned by NeXtWorks Ensemble, Merce Cunningham Dance Company, Roulette Intermedium, The Eclipse Quartet, William Winant, Bang on a Can, The Whitney Museum, The Tate Modern, Montalvo Arts Center, The Donaueschinger Musiktage and Sudwestrundfunk/SWR.

Parkins has released four solo records featuring her electric and acoustic harp playing and has released her compositions and band projects on six Tzadik recordings, with a new Tzadik CD with Ikue Mori and Phantom Orchard Orchestra, Trouble in Paradise, to be released in November 2012. As a sought-after collaborator Zeena has worked with: Fred Frith, Björk, Ikue Mori, Dame Evelyn Glennie, Maja Ratkje, Hild Sofie Tafjord, John Zorn, Butch Morris, Chris Cutler, Elliott Sharp, Nels Cline, Alex Cline, William Winant, Anthony Braxton, Pauline Oliveros, Yoko Ono, Christian Marclay, Matmos, Yasunao Tone, So Percussion, Bobby Previte, Carla Kilhstedt, Tin Hat, James Fei, Kim Gordon, Lee Renaldo and Thurston Moore.

Awards: The Foundation for Contemporary Arts Fellowship, NYFA Music Fellowship, Meet the Composer Commission, NYSCA Composer Commission, Multi-Arts Production Fund Grant, American Music Center, BAFTA award for best interactive media with visual artist Mandy McIntosh and sound artist Kaffe Matthews, Peter S. Reed Fellowship, Mary Flagler Cary Charitable Trust Commissions, Arts International, Prix Ars Electronica Honorary Mention for Phantom Orchard in the Digital Music category.

Curatorial: Guest curator for The Music Unlimited Festival in Wels, Austria, co-curator of the Movement Research Festival: Sidewinder, in NYC and curator for a month + a week of shows at The Stone in NYC

Residencies: Civitella Ranieri Foundation Fellowship, Oxford University, Harvestworks, Steim, Paf: Performing Arts Forum, Wooda Arts Residency, Montalvo Arts Center, RPI/iEAR and The Watermill Center.

Teaching: Zeena has given lectures at Oxford and Princeton Universities and has taught at the School of the Museum of Fine Arts in Boston, Bard and Mills College. Currently, Zeena is a Distinguished Visiting Professor, at Mills College Graduate Music Department."

-Zeena Parkins Website (http://www.zeenaparkins.com/about.html)
4/10/2024

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

"Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality.

Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.

Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.

Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.

Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.

Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.

Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. In Five Cubes (1989), he melted vinyl records into cubes. In the 1980s and early '90s, he invented album covers. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes (2007–09), white negatives against a blue background, he unspooled cassette tapes.

Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."

Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members."

-Wikipedia (https://en.wikipedia.org/wiki/Christian_Marclay)
4/10/2024

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Otomo Yoshihide - born in 1959 in Yokohama, Japan. As a teenager, he spent time in Fukushima. Staying independent, he has consistently composed a wide range of music from improvisation to noise music and pop, and his music talent has spread all over the world. He has a successful career as a film score composer and has produced more than 70 movie soundtracks. In recent years, he has produced special type of concerts and musical works in collaboration with other various artists under the name of "ensembles". In addition, one of his priorities is,producing musical workshop projects involving handicapped children. In 2011, after the Great East Japan Earthquake , he started "PROJECT FUKUSHIMA!" along with people in various sectors. He has been active beyond the music scene and this is the reason that he has attracted a great deal of attention. In 2012, he received the Minister of Education Award for Fine Arts in the category of Promotion for "PROJECT FUKUSHIMA!". In 2013, he received various prizes including the Japan Record Award for his accomplishments, such as composing the theme music for the TV drama "Amachan".

"I use my real name "Otomo Yoshihide" as my stage name. When you write your Japanese name in English alphabet, many people often write their given names first, then their family names, following in the Western traditional culture. But originally, some Asian countries, including Japan, write their family names first, and then their given names follow after that. In my opinion, there is not only one standard for people's names and we should respect the values each person attaches to their name. Calling someone by his first name is a wonderful custom in Western culture to express familiarity with each other but that custom is not necessary in Japan because nobody has ever called me by my first name. It does not mean that people are unlikely to become close friends with me. It is just that calling me "Otomo" seems easier. There are some places with such customs in the world; where people friendlily call you by your family name. I am definitely not a nationalist but I have a feeling that something is wrong with those people who do not only disregard the tradition I am familiar with, but would rather follow Western standards.

For this reason, I would like to continue using the notation "Otomo Yoshihide" as before. When you call me, please call me "Otomo" as before. This will not cause any problems in its use. Until now, many people have written my name "Yoshihide Ōtomo" or "Yoshihide Otomo" but please understand those notations are not my intention. I am sincerely grateful for your consideration."

-Otomo Yoshihide Website (http://otomoyoshihide.com/en/?page_id=4)
4/10/2024

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

"Born as Luc Klaasen in 1958 in Holland. After being a taxi-driver in Amsterdam he started his activities as musician (The Ex), making films (Mal Films) and was also one of the founders of the CD distribution and production company 'Konkurrent Onafhankelijk Muziekbedrijf BV'. In 2015 he stopped with his work @ Konkurrent.

For many years he was one of the driving forces behind the band THE EX.The Ex received large international recognition for there unconventional and fresh interpretation of music and its different styles, their consistent political attitude, their 'organic way' of making music and the fact they kept their independancy from the big commercial musicbusiness. After they won the national dutch pop-price 'BV POP' price in 1991 this appreciation only got bigger.

The Ex always worked with a diverge variety of artists and musicians like Han Bennink, Ab Baars, american avantgarde cellist Tom Cora (The Ex & Tom Cora 1991-1995), kurdish singer Brader, the Malian group Lanaya and toured with popgroups like Sonic Youth, Shellac, Chumbawamba, Tortoise & Fugazi.

One of his last projects within The Ex was the spectacular orchestra 'EX ORKEST': a 20 piece bigband with an enormous sound, dynamics and energy. Lyrics were written by the dutch writer and ex-soccer player Jan Mulder (Ajax, Anderlecht)."

-Luc Ex Website (https://www.lucex.nl/bio-discography/)
4/10/2024

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"California native Michael Vatcher, now residing in Amsterdam, quickly progressed from hitting household furniture to taking vibraphone and snare drum lessons as a child. In California, he played with reedist Michael Moore, with whom Vatcher has had a long musical relationship, John Handy, and Terry Gibbs. After spending a year in New York City, Vatcher moved to Holland in 1981.

Since arriving in Holland, Vatcher has played with such groups as the Tristan Honsinger Sextet, the Martin Altena Ensemble, John Zorn, The Ex, Roof (with Phil Minton, Tom Cora, and Luc Ex), and Van Dyke Parks. Vatcher is also a regular accompanist with the School for New Dance Development in Amsterdam, and has an ongoing musical relationship with dancers Katie Duck and Eileen Standley."

-All About Jazz (https://musicians.allaboutjazz.com/michaelvatcher)
4/10/2024

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"Born in 1950, and moved from Cornwall to London in 1972 and began playing as a freelance jazz pianist as well as developing as an improviser at Little Theatre Club.


1975-85: Residency & fellowship for Digswell Arts Trust (Hertfordshire). Activities included:

Collaborations with visual artists (potter-Elizabeth Fritsch and fine artist Steve Cochrane).
Work on written theoretical material, commissioned by The Digswell Arts Trust.
Co-ordinating music workshops, supported by Eastern Arts Association.
Co-founded and composed for young local group - Stinky Winkles, voted 'Young Musician of 1979' by Greater London Arts Association and won first prizes in France, Spain and Poland.
Collaborations with Lol Coxhill, music for Derek Jarman Film. First released recordings.

Throughout 1980s and early 90s worked with Eddie Prévost Quartet, Trevor Watts' Moiré Music and Lol Coxhill and Phil Minton. Major festivals have included Zurich, Berlin, Nickelsdorf, Karlsruhr, Warsaw, Wroclaw, San Sebastian, Bombay, Vancouver, Nancy, Aukland, Nevers, Washington, Lille, Houston, Le Mans, Strasbourg, Bologna and Victoriaville.

Ensemble projects with Minton:

Duo - Ways, Ways Past, and....Past - diverse songs, originals & improvisation structures.
Songs from a Prison Diary - French commission for 25 singers with poems by Ho Chi Minh.
Naming the Animals -a quartet with Lianne Carol and Ian Shaw, words by Adrian Mitchell.
Mouthfull of ecstasy - with John Butcher, Roger Turner, texts from Joyce's Finnegans wake.
Makhno - for chamber choir commissioned by Taktlos Festival 1997.
4Walls - a quartet with songs and improvisations with Luc Ex and Michael Vatcher.


Other recent duo collaborations with:

Trevor Watts - improvisations with a feeling of form, where rhythm and melody sit comfortably with more abstract moments. A major current project.
Caroline Kraabel - duets that explore acoustic phenomena related to two instruments and how these sounds interact in specific acoustic spaces.
Jon Rose - improvisations using different acoustic keyboards and violins with selected tunings derived from science, history and the imagination.
Hugh Metcalfe - Films by Hugh, images of objects, animals, humans, holidays, journeys, unfold, transform, collide and provide the basis for accompanying duet improvisations.


Local activities:

(1995-6) playing in rhythm section for 'Changes' jazz club in North London with British jazz artists.
Awarded A4E National Lottery support to give series of workshops/concerts with John Edwards & Mark Sanders titled 'Playing Together' in East Anglia (1998).

Helped coordinate and arrange the Lindsay Cooper Song Project (1999). European festivals - Taktlos (Zurich), Angelica (Bologna, commissioned arrangement of "Oh Moscow" for orchestra), Moers (Germany) and Roccella Jonica (Italy)"

-Veryan Weston Website (http://veryanweston.weebly.com/biog--discog.html)
4/10/2024

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Track Listing:



1. Madame Luckerniddle, part 1 3:24

2. Madame Luckerniddle, part 2 3:56

3. Madame Luckerniddle, part 3 3:14

4. Helliphant 2:44

5. Indicible 3:24

6. A nous! 6:25

7. Madame Luckerniddle, part 4 1:20

8. Madame Luckerniddle, part 5 4:11

9. On the other side 6:38

10. Him 4:43

11. Chut 6:54

12. The anarchist's anthem 4:47

Related Categories of Interest:


Improvised Music
NY Downtown & Metropolitan Jazz/Improv
European Improvisation, Composition and Experimental Forms
Cora, Tom
Unusual Vocal Forms
Yoshihide, Otomo
Staff Picks & Recommended Items
Octet Recordings

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@ Konfrontationen
(Confront)
Since 2009 the UK & European ea-improvising quartet Speak Easy with two remarkable vocalists, Phil Minton and Ute Wasserman (also on birdcall whistles), Thomas Lehn on analog synthesizer and Martin Blume on drums & percussion, have startled and amazed listeners, as heard here in this extended performance at the 2016 Festival Konfrontationen in Nickelsdorf.
Parkins, Zeena / Wobbly
Triplicates
(Relative Pitch)
Recording in electric harpist Zeena Parkin's office at Mills College in Oakland with Jon Leideker, aka Wobbly, performing on mobile phones, tablets, booper, and mixer, their output run through a series of simple listening devices, machines designed to sing along with the melodies they believe themselves to be hearing, though they are often wrong; singular and surprising!
Kraabel, Caroline
Last1 And Last2
(Emanem)
LAST is part of a series by Caroline Kraabel (LIO, Remote Viewers) mixing live improvisation with pre-recorded material provided by Robert Wyatt for this purpose, performed live at Cafe OTO in two versions: first where the 15-piece ensemble has not yet heard the Wyatt interventions, and second where they were familiar with and use his voice to structure what they play.
Gianfratti, Antonio Panda / Marco Scarassatti / Otomo Yoshihide / Paulo Hartmann
Psychogeography, an Improvisational Derive
(Not Two)
Recorded at the 2017 Improfest (Festival Internacional de Improvisacao e Arte Sonora) in Sao Paulo, the quartet of Marco Scarassatti, Antonio Panda Gianfratti, Paulo Hartmann, & Otomo Yoshide bring viola de cocho, percussion, self-made instruments, turntable, guitar, and prepared chiquita to a superb concert of wide-ranging improvisations named by geographical location.
Kaucic, Zlatko (w/ Evan Parker, Agusti Fernandez, Rafal Mazur, Lotte Anger, Artun Majewski, Phil Minton, Johannes Bauer)
Diversity [5 CD BOX SET]
(Not Two)
Slovenian percussionist Zlatko Kaucic reinforces the title of his "Diversity" box set over 5 CDs in a variety of solo, duo, trio and quartet setting, including some of the UK & Europe's finest improvisers--Evan Parker, Agusti Fernandez, Lotte Anker, Artur Majewski, Rafal Mazur, Phil Minton, and Johannes Bauer--an excellent example of his wide-ranging work as an improviser.



The Squid's Ear Magazine

The Squid's Ear Magazine

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