Butcher + Eastley + Blunt + Casserley
Sunday 10 March doors 7pm starts 7.30pm | adv £7 / door £10 BUY TICKETS [ fess apply]
Butcher is well known as a saxophonist who attempts to engage with the uniqueness of time and place. His music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and unusual acoustics.
The well received “Resonant Spaces” is a collection of site-specific performances recorded during a tour of unusual locations in Scotland and the Orkney Islands Since the early 80s he has collaborated with hundreds of musicians – including Derek Bailey, Rhodri Davies, Andy Moor (EX), Phil Minton, Christian Marclay, Eddie Prevost, John Stevens’ SME, Gino Robair, Polwechsel, Mark Sanders, John Tilbury, Okkyung Lee and Steve Beresford.
Recent compositions include “Penny Wands” for Futurist Intonarumori, two HCMF commissions for his own groups, “Good Liquor Caused my Heart for to Sing” for the London Sinfonietta and “Tarab Cuts”, a response to recordings of early Arabic classical music which was shortlisted for a 2014 British Composer’s Award. Alongside long term projects he values occasional encounters; from large groups such as the EX Orkestra & Butch Morris’ “London Skyscraper”, to duo concerts with Fred Frith, Akio Suzuki, Paal Nilssen-Love, Keiji Haino, David Toop, Otomo Yoshihide, Sophie Agnel and Matthew Shipp.
Max Eastley is an internationally recognised artist who combines kinetic sculpture and sound into a unique art form. His sculptures exist on the border between the natural environment and human intervention and use the driving forces of electricity, wind, water and ice. He has exhibited both interior and exterior works internationally. His work is represented in the permanent collection of the Centre for Art and Media, Karlsruhe, Germany and private collections.
Max is an artist with the Cape Farewell Climate Change Project (http://www.capefarewell.com). From 2010 to 2013 he was an Arts and Humanities Research Council Senior Researcher at Oxford Brookes University, investigating Aeolian phenomena through artistic practice and historical research. In 2014 he was City Sound Artist in Bonn, Germany and in 2017 he was a guest of the DAAD in Berlin, Germany.
He is well known as an improvising musician and has played many solo concerts as well as in combinations with musicians such as David Toop, Evan Parker, Steve Beresford, Alex Kolkowski, Rhodri Davies and John Butcher, Ute Wasserman, Phil Minton, Axel Dörner, Nicola Hein.
Since a classical violin training, Alison Blunt has been creating and performing new work utilising or consisting of improvisation. She has performed throughout Europe, Scandinavia, US, Brazil, Australia and New Zealand with a wide array of sonic magicians including Renee Baker, Lawrence Casserley, Annette Giesriegl, Elisabeth Harnik, Teppo Hauta-hao, Tristan Honsinger, Anna Kaluza, Hannah Marshall, Gianni Mimmo, Maggie Nicols, Evan Parker, Avreeal Ra, Mark Sanders, Harri Sjöström, Pat Thomas, Beibei Wang, Veryan Weston, Ute Wassermann and Trevor Watts in both ‘ad hoc’ and established ensembles including BARREL, Barcode Quartet, Berlin Improvisers Orchestra (BerIO), HANAM Quintet, London Improvisers Orchestra, Sestetto Internazionale and occasionally as a soloist.
With a long-standing involvement in interdisciplinary performance, Blunt was a member of collective ASITIS and companies Experiments in Spontaneous Performance and Apocryphal Theatre, and amongst broader performance and research activities, has collaborated with writer/playwright/director Julia Barclay-Morton, solar power installation artist Allan Giddy, Butoh dancer Florencia Guerberof, visual artist Birthe Jorgensen, visual artist/film maker Kate McMillan and voice & movement artist/actor/director Guy Dartnell. Several of Alison’s collaborative composition recordings have been aired on radio stations including BBC radio 3 programmes and their international counterparts and her voice is occasionally heard in interview.
A highly experienced and innovative workshop leader exploring music with people of all ages and abilities, Alison refuses to be pigeon-holed.Blunt herself has the same spontaneous attitude for superb control of timbre and sound, while remaining utterly free in her inventiveness. Steff Gijssels, FREE JAZZ BLOG
“…the certainty is that Lawrence Casserley can be more innovative and creative than many of the ringleaders of the young generation of ‘laptoppers’.” Rui Eduardo Paes
Lawrence Casserley (born Essex, England, 1941) is celebrating fifty years of making electronic music. He has devoted his career to the creation and promotion of live performance electronic music in a wide variety of ways. In September, 1967 he became one of the first students of electronic music on the new course at the Royal College of Music, London, taught by Tristram Cary. Later he became Tristram’s assistant, and subsequently Professor of Electroacoustic Music before taking early retirement in 1995 to follow his performing career.
Since leaving the RCM he has worked with many of the leading improvisers, particularly Evan Parker and his Electracoustic Ensemble. While he focuses primarily on the real-time transformation of other musicians’ sounds, he also uses voice, percussion, home-made instruments and found objects as sources for his Signal Processing Instrument.Casserley’s instrumental approach to live computer sound processing is the hallmark of his work, which is documented on many CDs, and he has performed and given workshops throughout Europe and in North and South America, Asia and Japan. Casserley’s many collaborators have included Philipp Wachsmann, Bob Cobbing, Simon Desorgher, Hugh Davies, Peter Jones, Jean-Michel Van Schouwburg, Martin Mayes, Gianni Mimmo, Viv Corringham and many others.
Recently he has been creating graphic scores for various musicians, one of which, Sette Pagine su l’Enigma del Bianco, was performed at the 2018 Venice Biennale.
Since his 75th birthday in 2016 Lawrence has been promoting a series of concerts in London, which feature his many musical collaborations; a number of these have occurred at Iklectik. He has a particular love of trios, many of which have featured in these concerts, so this one is no exception.