alg-a netlabel

The deaf will not serve in heavy artillery

isaac — 2011-09-04T20:16:00Z

The deaf will not serve in heavy artillery is the Maina´s third album , pseudonym of Spanish artist Isaac Cordal. The tracks were forgotten in a folder called Audio and were recorded between 2008 and 2009 when he was bored in London.

The deaf Will not serve in heavy artillery´s track was mixed by Carlos Suarez. Everything else was done by Isaac Cordal in his little room in Forest Road.

Outros traballos de Maina:

Love them, hate them - Testtube net label. 2006

Ola calma. Alg-label.com. 2003

Maina Bandcamp

See online : http://www.archive.org/details/Main...

The deaf will not serve in heavy artillery

isaac — 2011-09-04T19:55:59Z

The deaf will not serve in heavy artillery é o terceiro traballo de Maina , alcume de Isaac Cordal na súa deriva co audio. Os temas que conforman este traballo estaban esquezidos nunha carpeta chamada Audio, grabados entre o ano 2009 e 2010 mentres permanecía aburrido en Londres.

O tema The deaf Will not serve in heavy artillery foi remezclado por Carlos Suarez. O demáis foi grabado por Isaac Cordal na súa pequena habitación en Forest Road.

Outros traballos de Maina:

Love them, hate them - Testtube net label. 2006

Ola calma. Alg-label.com. 2003

Maina Bandcamp

Ver en liña : http://www.archive.org/details/Main...

Montée des eaux

isaac — 2011-01-10T19:49:50Z

Cyril Bondi: drums, objects
D'incise: laptop, objects
Rafal Mazur: acoustic bass guitar
Dragos Tara: one string bass, laptop

Gravado en Cracovia, 07.07.2010

Diatribes comezou a súa existencia nun soto de Xenebra no inverno de 2004. O seu traballo baséase na improvisación e a música experimental. Inicialmente como un trío, Diatribes converteuse nunha formación polimorfa, incompleta, que se agranda cun espectro de músicos invitados, de freejazz, de improvisación , electroacústica, abarcando sons contundentes a detalles íntimos acústicos. Na súa traxectoria tocaron coa Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordé, Mick Beck, etc, viaxando a través de Europa para crear novas entidades, con Adbul Moimême in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM en Alemaña.

http://www.dincise.net/diatribes

A participación de Rafal Mazur na música comezou na súa mocidade cos estudos de violoncelo en Cracovia. Cambiouse ao baixo eléctrico a finais de 1980. Desde 2000 tocou unha guitarra contrabaixo construído baixo os seus especificaciones polo luthier Jerzy Wysocki. Con este instrumento desenvolveu un enfoque avanzado e individual adicado á improvisación. Tocou jazz e música improvisada en clubs e festivais de toda Polonia e Europa, en China, Corea do Sur e Israel. Nos derradeiros anos colaborou con Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores e Attila Dóray entre outros!. O seu proxecto actual é o trío Ensamble 56. Mazur é un dos organizadores do Laboratory of Intuition, unha serie de presentacións de arte espontánea en Cracovia.

http://www.rafalmazur.eu/

Compositor, contrabaixista e músico electrónico, Dragos Tara pasa o seu tempo entre a composición e a improvisación. As súas colaboracións musicais e extramusicales-están motivadas por un interese na teoría de xogos, a dive! rsión dos rituais sociais e a extensión do instrumento e o corpo pola tecnoloxía.

http://dragostara.blogspot.com/

Ver en liña : http://www.archive.org/details/Diatribes

Montée des eaux

isaac — 2011-01-10T19:45:00Z

Cyril Bondi: drums, objects
D'incise: laptop, objects
Rafal Mazur: acoustic bass guitar
Dragos Tara: one string bass, laptop

Recorded in Krakow, 07.07.2010

Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordï¿½, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moimï¿½me in Portugal, Hannah Marshall in Engla! nd, Rafal Mazur in Poland or HKM+ in Germany.

http://www.dincise.net/diatribes

Rafal Mazur's involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980's. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others.! His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur's main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser's attitude, and to this end he practices the Taoist's martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of collective free improvisation.

http://www.rafalmazur.eu/

Composer, double bass player and electronic musician, Dragos Tara spends his time between composition and improvisation. His musical and extra-musical collaborations are motivated by an interst in the game theory, the dive! rsion of social rituals and the extension of instrument and body by technology.

http://dragostara.blogspot.com/

See online : http://www.archive.org/details/Diatribes

Playoff

berio — 2010-12-06T18:00:06Z

Playoff was recorded at Polar studios (O Grove) by Iñaki Bea between 2008 and 2009. It was mixed by Jose Luis Macías (Producer of Surfin Bichos. Extremoduro and Chimo Bayo). Florent, who is the guitar player of the band Los Planetas, plays some guitars on "Bomba Navarro".

In this recording, Mequetrefe keep playing their own personal style, which is a mixture of psychedelia, electronica, shoegaze and dub. Following their own way and keeping themselves out of trends breaking musical cliches, Mequetrefe shows to the world that not everything is already invented.

"Play Off", one more trip by Mequetrefe for travelers of brave ears

See online : http://www.archive.org/details/alg056

Playoff

berio — 2010-12-06T17:29:28Z

Grabado no Estudio Polar de O Grove por Iñaki Bea a finais do 2008 e principios do 2009. Mezclado por Jose Luis Macías (productor de Surfin Bichos, Extremoduro, Chimo Bayo). Florent, guitarrista dos Planetas colabora metendo guitarras na canción "Bomba Navarro".

Neste disco Mequetrefe siguen cultivando ese estilo tan persoal de sicodelia-electrónica-shoegaze-dub. Seguindo o seu propio camiño, fóra de modas e intentando desmontar clichés musicais a discreción, demostrando que non todo está inventado.

“Play Off”, unha viaxe máis de Mequetrefe, para viaxeiros de oídos valentes

Ver en liña : http://www.archive.org/details/alg056

Chefa Alonso and Albert Kaul

isaac — 2010-06-15T12:56:52Z

Chefa Alonso, (Spain, 1955)
Soprano sax. Percussion.
email: chefaalonso at yahoo dot es

Chefa Alonso studied Saxophone at the Conservatory San Lorenzo del Escorial, in Madrid, and Percussion in Madrid and Colombia. She has been practising and teaching improvised music since 1995, as well as composing and perfoming music for theatre and dance. She gives improvisation workshops to musicians, dancers, actors, poets ... in Spain (univesities, conservatories and music schools) and other countries (Belgium – Brussels, Brasil – Sao Paulo, Niteroi) and conduct the Omega (Spontaneous Music Orchestra from Galicia).

Alonso leads three Spanish based ensembles: Uz, winds jazz trio, Akafree, a free jazz group that performs her compositions, and Sin Red, a quartet that performs both poetry and improvised music. Alonso has played with numerous internationally acclaimed musicians in the improvised music circuit including Tony Marsh, John Russel, Roger Turner, Vanessa Mackness, Philipp Wachsmann, John Edwards, Steve Noble (U.K.), Ute Voelker, Gunter Heinz (Germany), Christine Wodraschka, Le quan Ninh (France), Lou Grassi (U.S.A.), Barbara Wagner, Co Streiff (Switzerland), Augusti Fernandez, Pelayo Arrizabálaga (Spain).

She has also played her own music and improvised music in the following festivals: Jazz and More (Sibiu, Rumanian), R-De-Choc (Paris), Poesie Dans Les Chais (Jurançon, France), Semana de Poesia Salvaje (Ferrol, Galicia, Spain), Improvisation Festival (Bucarest, Rumanian), Freedom of the city (London) Improvisation Festival in Dresden (Germany), WIM, improvisation festival from Zug and Zurich (Switzerland), Gaudi Festival of Improvised Music (León/ Spain), Music and daily sonority (Albi/France), Periferias (Huesca/Spain), Real Time Creation festival (Madrid/Spain) Madrid en danza (Madrid/Spain), Situaciones (Cuenca/Spain), Improvisa (Barcelona/Spain), El Grec (Barcelona/Spain), A Journey to Polynesia (Barcelona/Spain), La Filibuste (Toulouse/France), Escucha (Madrid/Spain), Experimental Music in Metronom (Barcelona/Spain), Iba (Barcelona/Spain).

As a member of the colective “Musicalibre”, she has co-organized and produced the annual International Festival of Improvised Music Hurta Cordel, and in 2003 and 2004 she served as the festival's head coordinator. She lived in London from 2004 to 2007, where she completed a Phd at Brunel University on free improvisation and composition. She currently belongs to the London improvisers orchestra.

She conducts Omega, Spontaneus Music Orchestra from Galicia, Entenguerengue, Improvisers Orchestras from Andalucía and belongs to the FOCO, Improvisers Orchestra of Musicalibre, Madrid and LIO (London Improvisers Orchestra). Her publications include the book: Improvisación libre. La composición en movimiento, in Dos Acordes, Spain.

MUSICAL COMPOSITIONS

Compositons for theatre and dance: 1996 “La Lavandera” 1998 “Roseta, Estate Quieta” 1999 “Feirantes” 2000 “A Celestina” 2000 “O pais Acuático” 2001 “A cacatúa Verde” 2001 “Alta Comedia” 2002 “As Damas de Ferrol” 2004 “Ensayo”. 2009 “69”

Composition for video Shores, by Barbara Meyer. London 2007 Ruido Blanco by Barbara Meyer and Raquel Sánchez. 2008

Compositions for improvisers “Five colours in seven minutes”. For six or more improvisers (2004 “Western Calypso” for quartet of sax and three percussionists (2004) “Music is not necessary”. For three voices and one cello (or double bass) (2004) “Three games for seven improvisers” (2005) “Collage”. For orchestra or a big group (2005) “Their faces were blue” (2005) “A beginning, a middle and an ending” (2005) “Two in three. For percussion and wind (2006) “Amazonas” (with Barbara Meyer). For soprano sax, cello, percussion, voice and electronics (2009).

CD-Productions: *John Russel, dúo. Emanem. Londres. 2007 * Freedom of the city 2006. Emanem. Londres * Sin Red (Víctor M. Diez, Cova Villegas and Ildefonso Rodríguez) 2005. Sound Deluxe Producciones. * Freedom of the city 2005, con la LIO (London Improvisers Orchestra). Emanem. * La visita de la salamandra. Akafree. 2003. Xingra Producciones. * No pais dos ananos Baldo Martinez Quintet. 1997

Qualifications • PHD on Composition and Improvisation at Brunel University (London). 2007. • Saxofonist and saxophone instructor (Conservatorio “Padre Antonio Soler” de San Lorenzo de El Escorial, 1991). • General Medicine and Surgery (Santiago de Compostela, Medicine University, 1980) • Postgraduate Course: “Music Schools: models of action”, organiced by el Aula de Música de la Universidad de Alcalá de Henares. • Pedagogical Aptitude Course (CAP). Madrid.

Albert Kaul (1963, Trier, Germany)
piano, clavichord
email: albertkaul at gmx dot de

Albert Kaul studied piano (Karin Germer) and composition (Karl-Josef Müller) at Johannes-Gutenberg-Universiy in Mayence and currenty resides in Marburg, Germany where he teaches piano, composition, improvisation and musicology.

His musical career began in the mid 1980's and since that time he has continued to refine his focus on contemporary and experimental music, composed or improvised, often in connection with other arts including theatre, film, and video. Kaul is the founder and a member of the „Grisette-Orchester“ (ensemble for experimental music) since 1995.

He received his PhD in 2008 with a doctoral thesis that discussed theories for teaching musical improvisation, His present research is a project analysing and developing working structures for children improvising in various group formations.

Albert Kaul's main musical interest is to cross boundary lines. This includes not only the lines between different musical styles, improvisation and composition, music and other genres but it reaches further to aspects of communication such as teaching and learning and performing and audience experiences.

Musical compositions (selection) 1988 “Hinter dem Ofen” (chamber opera for 3 actors/singers and 8 instrumentalists) 1989 “Tschimborasso raus” (trio for fl, git and db after a poem of Oskar Pastior) 1989 piece for treble recorder and trash can 1996 98 small pieces for violin solo 2002 Todesfuge (for chorus and three military drums, after a poem of Paul Celan) 2003 piece for saxophon (or other solo instrument) and applauding audience 2005 ...leaving the cage (guided improvisation for 13 instrumentalists) 2007 Triumph! Adler! Triumph! (trio for 3 amplified mecanical typewriters) 2008 Aton Hymnus (for female voice, flute and piano, after Akhenaten's Great Hymn to the Aten)

Publications (selection) 2001 “Nach Hause, Bartolomeo!” (musical theatre piece for children, publicated together with Lorenz Hippe), Deutscher Theater-Verlag Weinheim 2003 Kreativität – ein Bildungsziel? (Creativity – an Intention of Education?), Ringgespräche Berlin 2006 Hören? Fühlen? Spüren? Ahnen? Was ästhetische Theorie mit der Praxis der Improvisation zu tun hat (Hearing? Feeling? Sensing? Believing? About the Connection between Aesthetic Theory and Practise of Improvisation), Ringgespräche Berlin 2008 „Musikalische Bildung der Differenz“ (theory and teaching methods of musical improvisation) , Dohr Verlag Köln 2008 Musik direkt. Ein Improvisationsprojekt für große Gruppen (about organizing improvisation projects with large groups), Shaker Verlag Aachen

Chefa Alonso e Albert Kaul

isaac — 2010-06-15T12:18:55Z

Chefa Alonso, (A Coruña, 1955) Soprano sax. Percussion. email: chefaalonso at yahoo dot es

Chefa Alonso dedícase desde 1995 á interpretación e ensino da música improvisada e á composición e interpretación de música para teatro e danza, formando parte do colectivo Musicalibre, co que organiza anualmente o Festival Internacional de Improvisación de Madrid, Furta Cordel. É coordinadora das edicións Furta Cordel 2003 e 2004, na Casa Acesa. É profesora de improvisación.

Realiza seminarios de improvisación libre orientados, non só a profesores de Escolas de Música e Conservatorios, senón tamén, a estudantes universitarios e interesados na improvisación en xeral: músicos, actores, poetas, bailaríns.

impartiu seminarios solicitados pola Comunidade de Madrid, as Escola Municipais de Música de Salamanca, León e Tres Cantos, as Universidades de León e Oviedo, a Casa Acendida en Madrid, etc. Ademais dos seus grupos estables de improvisación, tocou ocasionalmente cunha gran variedade de músicos do panorama internacional da música improvisada como Lou Grassi (EEUU), Vanesa Macknes, Philipp Wachsmann, John Edwards, Steve Nobre, Terry Day, Tony Marsh, Orphy Robinson (Reino Unido), Christine Wodraska, Lle Quan Ninh (Francia), Ute Voelker, Gunter Heins (Alemaña), Barb Wagner e Co Straiff (Suíza), Pelayo F. Arrizabalaga, Agustí Fernández (España), etc. actuou en numerosos festivais: Freedom of the city (Londres. 2007, 2006 e 2005), WIM, Festival Internacional de Improvisación de Zug, (Suíza. 2005 e 2004); Festival de Improvisación de Dresden (Alemaña. 2007 e 2004); Música e cotidianeidad sonora (Albí, Francia), A Flibuste (Toulouse, Francia); e numerosos festivais en España, como: Periferias (Huesca); Festival de Creación en tempo Real (Madrid); Festival Furta Cordel (Madrid); Situacións (Cuenca); Madrid en danza (Madrid); Improvisa (Barcelona); O Grec (Barcelona); Viaxe á Polinesia (Barcelona); Escoita (Madrid); Música Experimental en Metronom (Barcelona)...

Actualmente vive en Madrid e terminou un doutoramento en composición e improvisación na Universidade de Brunel, Londres. Foi bolseira, para esta actividade, polo Ministerio de Cultura de España. Forma parte da Orquestra de improvisadores de Londres (LIO), a orquestra de improvisadores de Madrid (FOCO) e a orquestra de improvisadores galegos (OMEGA).

En xaneiro deste ano publica o libro: Improvisación libre. A composición en movemento, na editorial musical "Dous Acordes", en colaboración co Ministerio de Cultura de España.

CD Producións:

* London Improvisers Orchestra. Improvisations for George Riste. Emanem 2008. *John Russel, dúo. Emanem. Londres. 2007. * Freedom of the city 2006. Emanem. Londres 2007. * Freedom of the city 2005, coa LIO. Emanem. Londres 2006. * Sen Rede. Sound. Deluxe Producións. León 2005. * A visita da salamandra. Akafree. Xingra Producións. 2003 * Non pais dous ananos Baldo Martinez Quinteto. 1997

Albert Kaul (1963, Trier, Germany) piano, clavichord email: albertkaul at gmx dot de

Albert Kaul estudou piano con Karin Germer e composición con Karl-Josef Müller na Universidade Johannes-Gutenberg en Mayence e actualmente vive en Marburg, Alemaña, onde ensina piano, composición, improvisación e musicología.

A súa carreira musical comeza a mediados dos oitenta e desde entón centrouse fundamentalmente na música contemporánea experimental, composta ou improvisada, a miúdo en conexión con outras artes que inclúe teatro, cine e vídeo. Kaul é o fundador e membro de ?Grisette-Orchester? (grupo de música experimental) desde 1995.

Terminou a súa tese doutoral (2008) sobre o ensino da improvisación musical e actualmente leva a cabo un proxecto de investigación analizando e desenvolvendo estruturas de traballo para nenos improvisadores en diversos grupos e formacións.

O principal interese de Albert Kaul é atravesar as fronteiras que marcan os límites. Isto inclúe non só as fronteiras entre os diferentes estilos musicais, entre improvisación e composición, música e outros xéneros senón tamén sacar á superficie aspectos da comunicación talles como o ensino, a aprendizaxe, a actuación e a experiencia da audiencia.

Selección de composicións musicais

1988 "Hinter dem Ofen" (ópera de cámara para tres actores/cantantes e oito instrumentistas). 1989 "Tschimborasso raus" (trío para frauta, guitarra e contrabaixo). 1989 Peza para gravador e lata. 1996 98 pequenas pezas para violín só. 2002 "Todesfuge" (para coro e tres tambores militares, logo dun poema de Paul Celan) 2003 Peza para saxofón e aplausos do público. 2005 "Leaving the cage" (improvisación guiada para 13 instrumentistas). 2007 ¡Triumph! ¡Adler! ¡Triumph! (trío para 3 máquinas de escribir amplificadas). 2008 "Aton Hymnus" (para voz feminina, frauta e piano, logo de Akhenaten?s Great Hymn to the Aten).

Selección de Publicacións

2001 "Nach Hause, Bartolomeo" peza de teatro musical para nenos publicada con Lorenz Hippe, Deutscher Theater-Verlag Weinheim. 2003 ?Kreativität ? ein Bildungsziel" (sobre a creatividade na educación). Ringgespräche Berlin 2006 “¿Hören, Fühlen, Spüren, Ahnen?” (sobre a relación entre estética, teoría e práctica da improvisación). Ringgespräche Berlin 2008 "Musikalische Bildung der Differenz" (teoría e métodos de ensino da improvisación musical).Dohr Verlag Köln 2008 Musik direkt. Ein Improvisationsprojekt für große Gruppen (sobre proxectos de organización musical en grupos grandes). Shaker Verlag Aachen

El ojo del huracán

berio — 2010-06-13T22:38:26Z

El ojo del huracán is a free inprovisation work by Chefa Alonso playing soprano sax and Albert Klaus who plays piano.

Chefa Alonso (A Coruña) has been practising and teaching improvised music since 1995, as well as composing and perfoming music for theatre and dance. She gives improvisation workshops to musicians, dancers, actors, poets ... in Spain (univesities, conservatories and music schools) and other countries (Belgium – Brussels, Brasil – Sao Paulo, Niteroi) and conduct the Omega (Spontaneous Music Orchestra from Galicia).

Albert Kaul (Germani). His main musical interest is to cross boundary lines. This includes not only the lines between different musical styles, improvisation and composition, music and other genres but it reaches further to aspects of communication such as teaching and learning and performing and audience experiences.

Art work by Antía Sánchez

See online : http://www.archive.org/details/alg055

El ojo del huracán

berio — 2010-06-13T21:55:26Z

El ojo del huracán é un traballo de improvisación libre realizado por Chefa Alonso ao saxo soprano e percusións e Albert Kaul ao piano.

Chefa Alonso (A Coruña) adícase dende 1995 á interpretación e ensino da música improvisada e á composición e interpretación de música para teatro e danza, formando parte do colectivo Musicalibre, co que organiza anualmente o Festival Internacional de Improvisación de Madrid, Hurta Cordel. É coordinadora das edicións Hurta Cordel 2003 e 2004, na Casa Encendida.
É profesora de improvisación.

Albert Kaul (Alemaña) está interesado en atravesar as fronteiras que marcan os límites entre os diferentes estilos musicais, entre a improvisación e composición, música e outros xéneros. Está interesado en sacar á superficie aspectos da comunicación tales como o ensino, o aprendizaxe, a actuación e a experiencia da audiencia.

Deseño e ilustración por Antía Sánchez