The first of our brand-new monthly concerts at the wonderfully refurbished Old Fire Station, Oxford
This is will be a wonderfully varied evening of music from some of the most influential and experienced improvisers this side of London
ranging from small established ensembles through to the full orchestra.
Please note the 7.30 start time.
Curated by Patrick Taylor
The 3rd Monthly Tonic : Oxford Improvisers Orchestras’ monthly outing
Free jazz quartet of distinction featuring the unique talents of Alexander Hawkins keyboards, Pete McPhail sax, Dominic Lash bass, Roger Telford drums
Plus a set from the Oxford Improvisers Orchestra
£6 – Advanced Tickets: www.wegotickets.com
Tony Bevan Bass Saxophone (UK) Jeb Bishop Trombone (USA) John Edwards Double Bass (UK) Michael Zerang Drums & Percussion (USA)
“Spirited, challenging free improvisation. Do yourself a favour and check them out” Jason Bevins, Cadence (U.S.A.)
“imaginative and very satisfying” The Wire (U.K.)
+ Oxford Improvisers: Dan Goren, Stuart Chalmers & Martin Hackett
Curated by Chris Dammers
duo : Lee Riley & Stuart Chalmers
trio : Chris Dammers keyboards Dan Goren flugelhorn Paul Medley bass clarinet
plus large group improvisations and conductions by Oxford Improvisers Orchestra
Escape the Jubilee with Oxford Improvisers at the Old Fire Station on June 5th!
An evening of performances by the DEC group in collaboration with members of Oxford Improvisers and leading poets.
‘a unique and ground breaking collaboration between four art forms’
The DEC group is:
Malcolm Atkins and Bruno Guastalla: music
Susie Crow and Ana Barbour: dance
Clare Bassett, Kassandra Isaacson, Suzie Moxley: visual art
Tuesday 5 May 7:30 pm – 10:00 pm Entry: £8/£6
The Loft Room, The Old Fire Station, 40 George St., Oxford OX1 2AQ
evening convened by Malcolm Atkins and Janna Ferrett
Part of the Oxfringe Festival
This event in Oxford Improvisers series is another sonic feast: It will feature Oxford Improvisers Orchestra in fine shape in a new piece by Dan Goren, and conversing with a machine which John Grieve will have created for the occasion. The evening will also feature the strength and delicacy of Jon Seagroatt’s playing. There is a thread running through all three sets, which is an exploration of improvisation in relation to form. Form as constraint? Organic form? Aleatoric form?
On Growth and Form – Study I (Dan Goren)
Taking its name from the D’arcy Thompson’s seminal treatise on morphology, this piece seeks to apply the special and apt musical circumstances offered by an ensemble of improvising musicians to the evocation of that most wondrous of spectacles – organic growth.
Jon Seagroatt (solo soprano sax and live electronics)
Jon Seagroatt’s compelling sax playing is juxtaposed to the wild elaborations which granular synthesis creates.
Around a Machine by John Grieve (Bruno Guastalla)
What is the machine of musicians plus a machine?
Curated by Bruno Guastalla
For the first Oxford Improvisers concert of the new season at the Old Fire Station, Oxford Improvisers Orchestra will be joined by the Argentinian guitarist Fernando Perales. A founder member of the experimental group ‘Reynols’, this will be the first concert of his forthcoming European tour.
The evening will be in three parts:
– Music for guitar and strings devised by and featuring Fernado Perales with Jill Elliott, Bruno Guastalla and Dominic Lash
– Saxophone Quartet featuring Pete McPhail, John Greive, Jon Seagroatt and Paul Medley
– Oxford Improvisers Orchestra featuring Fernando Perales on guitar.
Facebook : www.facebook.com/events/269009589870663/
Since 1993 Fernando Parales has been working on free improvisation music based on prepared guitar technique. A one-time member of the experimental argentinian band REYNOLS, he has also collaborated with Fred Frith, Damo Suzuki, Christof Kurzmann, Simon Whetham and many others. He writes:
“I have a solo project called Viva La Muerte using composition and execution techniques based on improvisation and on the non-semantic difference between noise and traditional musical sounds. I work without a harmonic and melodic structure, focusing on exploring the timbric and material aspect of sound and noise. Viva La Muerte is a sort of unipersonal orchestra, composed of guitars, contact mics, pieces of metal, garage tools, metal sheets and industrial matrix fallen into disuse. My work has elements in common, sometimes with free electroacoustic improvisation, sometimes with ambient/minimalism, and some other times with drone or noise, exploring always the guitar’s physical limits.”