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Barry Guy
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Tensegrity

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Not Two, 2016

Średnia ocena klientów: -    oceń

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CD : 169,90 zł
na stanie
Nr kat.: MW 938-2
format : CD
liczba nośników : 4


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Line-up:
Savina Yannatou – voice
Michel Godard – tuba and serpent
Ben Dwyer – guitar
Agusti Fernandez – piano
Torben Snekkestad – soprano & tenor saxes
Michael Niesemann – alto sax & oboe
Per Texas Johansson – tenor sax & clarinet
Peter Evans – trumpet
Julius Gabriel – baritone & soprano saxes
Maya Homburger – violin
Fanny Paccoud – viola
Lucas Niggli – percussion
Ramon Lopez – percussion
Barry Guy – bass

Recorded:
November 18 & 19 & 20, 2014at the Alchemia Club, Krakow

The legendary Alchemia Club in Krakow (Poland) has played and continues to play
host to musicians worldwide to present their musical ideas.

In recent years I have had the pleasure to prepare large ensemble projects there during
the daylight hours, whilst the evening has given way to small formations from within the big band that, in a way, expose the heart and soul of the group, an ontological musical debate that informed the total experience of our work together.

KINESIS or ONTOLOGY (depending on which title we will choose ) represents the summation of three evening performances, where regular but most often new alliances came together for creative evocations in an uncharted musical landscape. To my ears these experiences in turn informed the Première performance of “The Blue Shroud” at the end of our residency where a unified sense of purpose provided the listener with an especially emotional focus.

My thanks go to Marek Winiarski for making the project happen and to Maya Homburger for managing the band as well as playing in the ensemble.

To the musicians involved, I send my thanks for their commitment, but above all for their amazing creativity, endlessly demonstrated night after night.

Barry Guy

What the critics say:

Small Group Formations

During the days leading up to the final concert of his 2014 residency in Krakow, Guy rehearsed his hand-picked band through the score for his ambitious new work “The Blue Shroud”. But in the evenings they broke into smaller subdivisions to improvise freely. That plan not only provided a way to promote familiarity and let off steam after a long day's intense rehearsal, but also sowed the seed for some of the improvisatory passages in the longer work. Each night there were three sets, each comprising up to three separate groupings. While everyone had links t
.......
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