"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 (https://en.wikipedia.org/wiki/Barry_Guy)
1/14/2021

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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 (http://www.agustifernandez.com/biografia/)
1/14/2021

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"Born and educated in Zurich, Switzerland, Maya Homburger moved to England in 1986 to join John Eliot Gardiner's English Baroque Soloists, Trevor Pinnock's The English Concert and other period instrument groups. Concerts and Recordings as leader of the Chandos Baroque Players and founding her own Trio Virtuoso led her to specialise more and more in chamber music and solo performance. In 1993 she recorded the twelve fantasies for solo violin by G.Ph.Telemann and in 1995 the six sonatas for violin and harpsichord by J.S. Bach together with Malcolm Proud.

Ever since meeting the composer and solo bassist Barry Guy - on the occasion of an extended concert tour with Christopher Hogwood's Academy of Ancient Music in 1988 - she has devoted her time developing her own personal style on the baroque violin as well as managing the Barry Guy New Orchestra, the London Jazz Composers Orchestra and running her own CD label MAYA recordings.

The idea to perform baroque solo works in the context of free improvised music and newly commissioned pieces sparked off the Homburger/Guy Duo and together Maya Homburger and Barry Guy have given concerts in many major Jazz, New Music and Baroque Music Festivals all over Europe. New works in her repertoire include Barry Guy's compositions Celebration, Inachis, Aglais and Lysandra for solo violin, Ceremony for violin and tape, Bubblets for violin and harpsichord and compositions for baroque violin and double bass, especially commissioned for the Homburger/Guy Duo from Buxton Orr, Roger Marsh and Giles Swayne.

After living in Ireland for nine years where they contributed both to the early as well as the contemporary music scene, they have moved to Switzerland in 2006.

In 1999 Maya Homburger organised her own music Series in Dublin called "Now and Then". In 2000 she was one of the leaders and soloists for J.E. Gardiner's Bach pilgrimage which took her to many of Europe's most beautiful cathedrals and churches where she performed in 52 Bach Cantatas.

Recordings include the Duo CDs "Ceremony" (ECM) and "Dakryon" (Maya Recordings), Bach/Guy solo works (Maya Recs.) and "Folio" (ECM) where she appears as violin soloist together with the Munich Chamber Orchestra."

-Maya Homburger Website (http://www.maya-recordings.com/biographies/maya/index.html)
1/14/2021

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"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."

Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.

He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.

Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."

A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."

While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."

The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".

Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.

Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "

-Evan Parker Website (http://evanparker.com/biography.php)
1/14/2021

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"Born 1964 in Umeå, Northern Sweden.Saxplayer, improviser and composer. Solo artist and international tours and projects with a.o. Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Ken Vandermark and in working groups The Thing, FIRE!, Gush, Boots Brown, Swedish Azz and Fake (the facts). Large ensemble work with Barry Guy New Orchestra,FIRE! Orchestra and the NU - ensemble.over 1800 concerts and over 200 record productions in Europe, Australia, Africa, North & South America and Asia.Collaborations with contemporary dance, theater, art, poetry as well as projects with noise, electronica, contemporary rock and free jazz.Discaholic - running the discaholic corner website.Producer of international festivals and concert tours as well as work with own record labels Slottet, OlofBright Editions and Blue Tower Records."-Mats Gustafsson Website (http://matsgus.com/archives/category/bio)
1/14/2021

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"Hans Koch plays bass clarinet and soprano saxophone. He has played alongside of musicians such as Cecil Taylor, Evan Parker, Fred Frith, Paul Lovens, Barry Guy, Barre Phillips, Phil Minton, Peter Kowald, Hans Reichel, Tom Cora, Jim O'Rourke, Fennesz, Elliott Sharp, Anthony Coleman, DJ M. Singe, Voicecrack, Günter Müller, Jean-Marc Montera, and Joëlle Léandre in Europe, America, and Asia-and still managed to maintain his association with the Koch-Schütz-Studer Trio. He has put out compact discs on various labels."

-ActuelleCD.com (Dame, Ambiances Magnetiques) (http://www.actuellecd.com/en/bio/koch_ha/)
1/14/2021

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"Clarence "Herb" Robertson (born February 21, 1951) is a jazz trumpeter and flugelhornist. He was born in New Jersey and attended the Berklee School of Music. He has recorded five solo albums for the JMT record label and also worked as a sideman for Tim Berne, Anthony Davis, Bobby Previte, David Sanborn, George Gruntz, Bill Frisell and Paul Motian, among others."

-Wikipedia (https://en.wikipedia.org/wiki/Herb_Robertson)
1/14/2021

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"Johannes "Hannes" Bauer (22 July 1954 - 6 May 2016) was a German trombonist of improvised music and free jazz. He was the brother of the trombonist Conny Bauer.

He was born in Halle. From 1979 onwards, he worked as a freelance musician in Berlin.

Among others, he worked with the following groups: the Manfred Schulze Wind Quintet, Doppelmoppel (with Conny Bauer, Uwe Kropinski, and Helmut "Joe" Sachse), Slawterhaus (with Jon Rose, Peter Hollinger, and Dietmar Diesner), Futch (with Thomas Lehn and Jon Rose), Ken Vandermark Territory Band, and the Peter Brötzmann Tentet.

Bauer died on 6 May 2016 at the age of 61."

-Wikipedia (https://en.wikipedia.org/wiki/Hannes_Bauer)
1/14/2021

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"Per-Åke Holmlander...

...born in 1957 in Skellefteå in the very north of Sweden. Holmlander received his diploma in classical tuba in 1983 at the Royal Academy of Music in Stockholm with Michael Lind as a teacher. Holmlander has always worked simultaneously with improvisation, jazz and rock music as well as classical and contemporary music.

As an improviser Holmlander has worked with - Eje Thelin, Marilyn Crispell, Paul Lovens, Folke Rabe, Phil Minton, Sten Sandell, Sven-Åke Johansson, Mats Persson, Gunter Christmann, Kjell Westling, Keith Rowe, Jan Allan, Georg Riedel, Position Alpha, DJustable, Jon Vanderlander Trio, The Swedish Radio Jazz Group, Ken Vandermark - Territory Band & Resonance Ensemble, The Frontroom Ensemble, London Jazz Composers Orchestra, Torden Kvartetten & Peter Brötzmann Chicago Tentet...among many others.

Holmlander works a lot with theatre music, sometimes he plays solo and he regularly works with Fire! Orchestra, Paal Nilssen-Love Large Unit, Barry Guy New Orchestra, Fredrik Ljungkvist and his Yun Kan 5 & 10 and recently with Parti&Minut, Swedish azz, Inner Ear & Mats Gustafsson NU-Ensemble.

Per-Åke has participated in more than 100 records and 1800 theatrical performances. He has given concerts in 38 countries and he is since December 2008 a member of the government run - Musikalliansen."

-Carliot.Org (http://carliot.org/)
1/14/2021

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"Paul Lytton (born 8 March 1947, London) is an English free jazz percussionist.

Lytton began on drums at age 16. He played jazz in London in the late 1960s while taking lessons on the tabla from P.R. Desai. In 1969 he began experimenting with free improvisational music, working in a duo with saxophonist Evan Parker. After adding bassist Barry Guy, the ensemble became the Evan Parker Trio. He and Parker continued to work together into the 2000s; more recent releases include trio releases with Marilyn Crispell in 1996 (Natives and Aliens) and 1999 (After Appleby).

A founding member of the London Musicians Collective, Lytton worked extensively on the London free improvisation scene in the 1970s, and aided Paul Lovens in the foundation of the Aachen Musicians' Cooperative in 1976.

Lytton has toured North America and Japan both solo and with improvisational ensembles. In 1999, he toured with Ken Vandermark and Kent Kessler, and recorded with Vandermark on English Suites. Lytton also collaborated with Jeffrey Morgan (alto & tenor saxophone), with whom he recorded the CD "Terra Incognita" Live in Cologne, Germany.

He played also on White Noise's pioneer electronic pop music album An Electric Storm in 1969."

-Wikipedia (https://en.wikipedia.org/wiki/Paul_Lytton)
1/14/2021

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"Raymond Strid (born 1956 in Stockholm, Sweden) is a Swedish drummer in the genre of free jazz and the new European improvised music.When Strid picked up drumming, he was inspired by musicians like Han Bennink, Paul Lytton, and Tony Oxley. He started his musical career relatively late. His debut concert was in September 1977, after first playing with a variety of local bands in Stockholm. In 1988 he founded the 'GUSH' trio together with saxophonist Mats Gustafsson and the pianist Sten Sandell. Since that time Strid has played in a series of bands and projects, such as in the trio Guy/Gustafsson/Strid, Marilyn Crispell/Anders Jormin/Raymond Strid and the Free Jazz trio LSB with Fredrik Ljungkvist and Johan Berthling. In 2000 he initiated 'The Electrics' with Axel Dörner, Sture Ericson and Ingebrigt Flaten. The same year Strid joined the Barry Guy New Orchestra. Strid played at numerous festivals of free improvisation in Europe and North America. He also teaches in musical improvisation."-Wikipedia (https://en.wikipedia.org/wiki/Raymond_Strid)
1/14/2021

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