“Now let’s make music with more holes in it.”
These recordings in two movements
SR311 MINTON/CHEN QUINTET
can be taken as, on the one hand, pieces for two voices and
improvisation chamber orchestra (which is what the musicians felt
throughout the recording session) and, on the other hand, pure free
Phil Minton / voice
Audrey Chen / voice cello
Guy Segers / electric bass
Peter Jacquemyn / double bass
Teun Verbruggen / drums percussions
Things get dislocated, gather themselves, spread across areas of varying
intensities. More intimate or more complex song. closer to the sacred, left
untouched by mediation, even slightly incomprehensible, though mostly
ambivalent and reality-piercing. At times, the music seems to lead us to
a meaning that is deeper than the textual level. or is it the depth of another
possible song? That’s when the music takes us to areas that seem perpetually
urging, more than their simple addition of voices and instruments.
(1940, Torquay, United Kingdom) is a jazz/free-improvising vocalist and
trumpeter. Minton is a highly dramatic baritone who tends to specialize in
literary texts: he has sung lyrics by William Blake with Mike Westbrook's
group, Daniil Kharms and Joseph Brodsky with Simon Nabatov, and extracts
from James Joyce's Finnegans Wake with his own ensemble.
Between 1987 and 1993 Minton toured Europe, North America and Russia
with Lindsay Cooper's Oh Moscow ensemble.
He is perhaps best known, however, for his completely free-form work,
which involves "extended techniques" that are extremely unsettling. His vocals
often include the sounds of retching, burping, screaming, and gasping, as well
as childlike muttering, whining, crying and humming; he also has an ability
to distort his vocal cords to produce two notes at once.
Chinese-American musician who was born into a family of material scientists,
doctors and engineers, outside of Chicago in 1976. She turned to the cello at
age 8 and voice at 11. After years of classical and conservatory training in
both instruments, with a resulting specialization in early and new music,
she parted ways again in 2003 to begin new negotiations with sound in order
to discover a more individually honest aesthetic.
Now, using the cello, voice and analog electronics, Chen’s work delves deeply
into her own version of narrative and non-linear storytelling. A large component
of her music is improvised and her approach to this is extremely personal and
visceral. Chen has performed in Europe, Russia, Australia, New Zealand, China,
Japan, Taiwan, Brazil, Canada and the USA during the last years.
Best known for his bass work with Univers Zero (one of the most important
and influential Rock In Opposition acts), where he was one of the most
important members. He also contributed to other projects, like Present and
X-Legged Sally, for example.
Peter Jacquemyn moves easily between the visual arts and music (he plays
double bass). He is a longstanding member of the Belgian WIM - Werkgroep
Improviserende Muzikanten (WIM) (Association of Improvising Musicians) -
playing concerts since 1984,
Searching for a personal touch and wanting to explore all possibilities of playing
music and drums, his lack of boundaries and styles and trying to find fresh
sounds and freedom in collectif improvisation made him work (as sideman)
with Jef Neve Trio, Alexi Tuomarila, Jimi Tenor, Steve Houben, Othin Spake,
Mauro Pawlowski, Karanova....