Lebowskis proudly announces our successful Development Residency recipients for our first season.
5:15pm The First Baboon Civilisation
The First Baboon Civilisation was conceived out of a release made for Moontown Records. The release is an overdubbed recording, with the intention of it sounding like an undiscovered jazz ensemble from the 70's.
Now the group is a fully functioning collective, creating music through the use of graphic scores and free improvisation. The compositions are inspired by groups and musicians such as Art ensemble of Chicago, Sun Ra, Pharaoh Sanders, Horace Tapscott and The Pan-Afrikan People's Arkestra.
Development concept: To explore the possibilities within writing and performing graphic compositions for a large ensemble.
I want to use this residency to trial new ideas using graphic scores, orchestrating and conventional notation for the large ensemble. The objective of the scores and orchestration is to make it simple, not to take away from the musicians deep listening and improvising. They will be supplying most the content and I will be supplying the structure. The notation elements will act as a platform to connect the group together as well as a launch pad for improvisation, the same way Ornette Coleman did with his compositions. I'm also interested in exploring music notation in unconventional ways by borrowing certain aspects of Anthony Braxton's compositions, such as his use of shapes and lines in amongst the notation.
For this residency I will also be exploring the use of electronic manipulation. Certain members of the ensemble will morph the instrumentalists sound through the use of hardware effects, computer based software and live looping.
6:15pm I Hold The Lion's Paw
Reuben Lewis - trumpet, electronics
Jordan Murray - trombone
Jon Hunt - saxophones, clarinets
Geoff Hughes - guitar, electronics
Ronny Ferella - drums, percussion, electronics
Dave Brown - electric bass, prepared guitar
I Hold the Lion’s Paw represents a collective of musicians that have made music together for a number of years. Whilst the formations have modulated (duo, trio, quintet etc..) the creative intent behind the collective has remained one of research and exploration into three central subjects: groove music, group improvisation and transient compositional forms. These act almost as opposing gravitational pulls, with the musical result finding its own balance somewhere in between.
Over the course of the Lebowskis Development Residency, I Hold the Lion’s Paw will develop a series of instrumental song-cycles that investigate in depth the surreal poetic landscapes cultivated through the poetry of the Persian Sufi Master, Shams-ud-din Muhammad Hafiz (c. 1320-1389).
I intend to develop a series of instrumental song-cycles for six-piece electro/acoustic ensemble inspired by the poetry of the Persian Sufi Master, Shams-ud-din Muhammad Hafiz (c. 1320-1389).
The song cycles will be a collation of aural studies that investigate in depth the surreal poetic landscapes cultivated through Hafiz’s words. The umbrella title for the cycles will be “I Hold the Lion’s Paw” and will incorporate elements of South-Indian Carnatic music, Afrobeat, Guinea Pygmy and Echtzeitmusik (real-time music) traditions within its structural and compositional fabric.
Rather than a series of wholly complete or singular compositions the motivation behind the song cycles is to create a body of compositional cues that can be strung together with completely improvised sections, creating a kind of nonstop improvised suite.
This method of dovetailing material in a freer and quickly adaptable fashion is one that is familiar to the proposed ensemble. The original quintet was formed in early 2013 with the ultimate goal to develop a band that possesses the flexibility to regularly push composed material into uncharted territory and has the capacity to freely interpret mixtures of set structures and open arrangements. As a reference point, I continue to look to the Don Cherry Quintet: Live at Cafe Montmarte 1966 and his ‘Cocktail Pieces’ as well as the compositions of Tomasz Stanko and Anthony Braxton to inform my own approach of composition for this ensemble.
Each residency performance will expand on work from the previous concerts and rehearsals. This will take the form of new song-cycles, deeper exploration of existing material or most likely a combination of both.