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MOVING POINT /
THE MEETING POINT
interdisciplinary improvisation company
Valeria Primost, Diana Gadish, Pere Gay i Faura, Isabel Olle Carpintero:
Daisuke Terauchi: voice, theremin, electronics
Peter Huber: trumpet
Michael Fischer: sopranosaxophone, violin
Marcos Baggiani: drums
Collaborations with Lily Kiara and Eileen Standley (magpie dance comp. Amsterdam), Tamaho Miyake (composer, musician), Urska Vohar (performance), Eugenie Jansen & Albert Ellings (documentary movie), Ellen Knops (light) a. m. o.
Performances at the Bimhuis Amsterdam, Loos Foundation Den Haag, trytone festival/Zaal 100 Amsterdam, festival TussenLand/Kasteel Groenevald NL, Muiderport Theater Amsterdam, Badhuis Amsterdam, festival artacts St.Joh. AT, Papierfabrik Steyrermühl, Im_flieger/WUK Vienna
THE INTELLECTUAL UNCONSCIOUS
Tamaho Miyake, theremin, piano, vietnameese zither >|
Daisuke Terauchi, voice, recorder, chaos pad >
Michael Fischer, saxophone, violin
The Intellectual Unconscious performed a.o. with Rozemarie Heggen or Peter Jacquemyn and toured Japan twice (Osaka, Hiroshima, Tokyo, Kyoto, Shiga, Nagoya); in Europe MediaArtSchool /Brussels, Porgy&Bess/Vienna, DNK /Amsterdam ... >
I S T AG
Annette Giesriegl, vioce, electronic devices >
Clementine Gasser, cello >
Karl Sayer, double bass
Michael Fischer, violin
This string trio with voice ambitioned in an instant compositional thinking, grounds its music on a diverse and strongly rooted theoretical and practical knowledge and orchestral thinking. Concentrated as well as relaxed interaction and stringent ideas give the quartett's homogenious soundcharacter a balanced evidence, explicit orientated on transparency and clearness. The artists are each involved since many years in projects within the international scene of improvised/new music, advanced jazz and interdisciplinarity with partners from literature, dance, theater, performance, film/video.
VIST AG was invited by curators of series for new music and Festival Ulrichsberger Kaleidophon.
CD release: 'VIST AG' mp3
dedicated to Bela Mago jr.
resonance 1 03:11
resonance 2 04:01
resonance 3 05:21
resonance 4 08:46
resonance 5 09:43
resonance 6 12:02
resonance 7 05:47
resonance 8 02:59
recorded at Amann Studios Vienna
released at Creative Sources Recordings / 2008 CS 118
Massimo Ricci, Touching Extremes:
"VIST AG's coherent mix of inspired probing and technical underpinning, their subtleties so precious in a world where, too commonly, substance is mistaken for bushwash whereas barrenness is used as creed, a shield for modernist intellectuals to hide behind."
"An incredible quartet of voice and strings with an attitude of electro-acoustic sound production, immense journeys in sound crossing the areas of conflict between meditation and impulsiveness."
Dieter Kaufmann, composer, head of Inst. electroac., experim. music, Univ. Vienna:
"Landscapes of sounds are here developed as islands of acoustic concentration within the drift of everyday sounds and musical floods. It's an effort against 'acoustic pollution', as Murray Schafer, guru of the 'sound-ecology' stated, for the consciously and self-consciously intended purpose of structured sound as victual."
Michael Fischer, mixingdesk, microphones, headphones, turntables
STRANGE AID is created with a rudimentary setup of 2 - 5 soundgenerators (which are: headphones, microphones and turntables), recorded in a broadcasting-studio this work can also be seen as a contribution to the basic research on electroacoustic music production.The main aim of STRANGE AID is to convey electroacoustic contents via a series of radio-broadcasts where the method of producing this contents is explained live on air to the listeners. The radio shows where this happens (which I am doing since 1999) main contents are: improvised music, new music, ethnic music and electroacoustic music production. On and off there are guests in my shows whom I explain the production process of STRANGE AID so that they are able to do electroacoustic compositional work by themselves which is also presented in these shows.
The incalculability of the result of the sound production needs a high measure of the ability taking risk. Feedbacks are to a certain amount always incalculable. This challange offers on the other hand the possibility to find new musical and technical associations. Looking for transparency at each show where I or my guests do a piece with theSTRANGE AID setup, the setup and method is declared to the audience.
This experimentation series is not only a personal defintion of a yet predisposed field (the mixing desk as connection between moderator and audience), it is also a contribution to the findings of feedback mechanisms in the electroacoustic compositional/improvisational content production, and an attempt to discuss the politico-social connotations of this method:
- Which effects do have systematic or arbitrary changings of the system parameters on the possibilities of reaction of the current systems interrelations?
- Which criterias of stability do have excalated systems?
... and when starting something new, it takes time to study the possibilities" - Luigi Nono on working processes
(Michael Fischer, 2001)
CD release: 'STRANGE AID'
Strange Aid #1 24:01 mp3
Strange Aid #2 26:36
Strange Aid #3 14:52
recorded in Vienna, 2000
ran id / 2003 CD-R/ri
other ran id releases:
fourteen violin feedback quartetts
ran id, 2006 CD-R/ri 2
"In 2 Milliarden Jahren..."
Stück für vier Frauenstimmen, zwei Bratschen, Cello und Elektronik
ran id, 2010 CD-R/ri 3
F I S C H E R / S M I T H
Michael Fischer, tenor- and sopranosaxophones, voice
Gary Smith, stereo-guitar
CD release: 'TOMASET - 6 IMPROVISATIONS'
Tomaset #1 15:36
Tomaset #2 10:07 mp3
Tomaset #3 15:01
Tomaset #4 10:51
Tomaset #5. 5:25
Tomaset #6. 2:29
|FISCHER / GREENE / MENRATH|| Michael
Fischer, tenor- and sopranosaxophones
Burton Greene, piano
Andi Menrath, drums, table percussion
CD release: 'THESE SPIRITS OF ELSEWHERE'
Prospect. . . . . . . . . . . 13:37
Polyzoon . . . . . . . . . . . 0:15
Painting the Blues Red 7:22 mp3
Relativity. . . . . . . . .. . 3:24
Spirits Abroad. . .. . . 25:54
rec. Jan. 2000 in Amsterdam
released at Extraplatte / 2000 EX 434-2
Narada Burton Greene, born in Chicago, Illinois in 1937, had seven years of classical music training with Isadore Buchalter of the Fine Arts Building. Burton studied jazz theory and harmony with Dick Marx and continued his music education in the 'School of the Streets' of the mid 1950's from such luminaries as Billy Green and Ira Sullivan. He arrived in New York in '62 and formed probably the first spontaneous composition group with bassist Alan Silva in '63: The Free Form Improvisation Ensemble. He joined the Jazz Composers Guild in '64 (organized by Bill Dixon and Cecil Taylor) and formed his first recorded quartett in '65 which included Marion Brown and Henry Grimes. He performed in New York in the 60's with such people as Sam Rivers, Rashied Ali, Albert Ayler, Patty Waters, Byard Lancaster, Gato Barbieri, etc.
Burton was involved with the New Music Concert Series in Town Hall and YMHA organized by Max Poolikoff which included panel discussions with Morton Feldman and Earl Brown. He moved to Europe in 1969 first to Paris, then to Amsterdam. Since that time he has toured and recorded extensivly in both Western and Eastern Europe with occasional tours in America.
Burton Greene has recorded over 35 records and CDs of his compositions in many and varied contexts. As an eclectic composer and performer, his works are involved with jazz, contemporary classics, electronics, and a great variety of folklore musics. Burton has collaborated with many musicians, among them are John Tchicai, Archie Shepp, Anthony Braxton, Willem Breuker, Han Bennink, Keshavan Maslak, Sunny Murray, Frank Wright, Sean Bergin, Paul Stocker, Theo Loevendie, Martin van Duynhoven, Clarence Becton, Perry Robinson, Roswell Rudd, Tjithe Vogel, Raoul van der Weide, Tom Jones, Tobias Delius, Michael Moore, Akki Hak, Lou Grassi, Wilber Morris, Roy Campell, etc. burtongreene.com
some music ensembles 1996 - 2003