(Hrvatski) Jennifer Allum violin /Marjolaine Charbin piano /Eddie Prévost percussion

Petak, 26. travnja

22h Jennifer Allum violin /Marjolaine Charbin piano /Eddie Prévost percussion. @ polukružna dvorana Teatra &TD (70′)

Ovi su glazbenici povezani već niz godina kroz tjedne Londonske radionice improvizacije koje je započeo Prévost 1999. godine. Oni čine malen ansambl probran iz stotina glazbenika koji su često prisustvovali i njegovali ovu kolegijalnu atmosferu.

Radionica predstavlja rastuću zajednicu glazbenika različitoga glazbenog porijekla koji zajednički interes nalaze u bavljenju zvukom na osnovnoj razini. U ovoj je aktivnosti kod glazbenika prioritet dan dvama procesima:otkrivanju i dijalogu. Glazbenici (riječima Corneliusa Cardewa) „traže zvukove i odgovore koji se uz njih vežu, prije nego li ih smišljaju, pripremaju ili proizvode.“ Dakle, umjesto predstavljanja, nuđenja već gotovih ishoda rada, glazbeni je naglasak na osobnoj kreativnosti i društvenoj empatiji u samom trenutku izvođenja.

These musicians have been associated for a number of years through the weekly London improvisation workshop first convened by Prévost in 1999. They represent a small ensemble from the hundreds of musicians who have frequented and nurtured this collegiate atmosphere.

The workshop represents a growing community of musicians from diverse backgrounds who find a common cause in engaging with sound at a elemental level. In this activity two processes are given priority in the minds of the players: discovery and dialogue. The musicians (in the words of Cornelius Cardew) are: “searching for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them.” So, rather than being presentational offering ready worked outcomes   the musical emphasis is upon personal creativity and social empathy within the moment of performance.

Eddie Prévost, udaraljke / percussion

Improvizacijski ansambl AMM osnovali su zajedno Eddie Prévost, Lou Gare i Keith Rowe. Nakon toga pridružili su im se Lawrence Sheaff i Cornelius Cardew. Otada Cardew, Gare, Prévost i Rowe ostaju kao baza ansambla, sve do razdvajanja 1972. godine. Drugi, formalno glazbeno obrazovani glazbenici, pridružili su se AMM-u nakon Cardewova odlaska, uključujući i pijanista Johna Tilburyja, koji je bio prijatelj i rani suradnih Cardewa, a kasnije i autor njegove biografije.

Istraživačka dinamika AMM-a navodi glazbenike tražiti novi materijal. Stvaranje i oblikovanje stvari smatra se važnijim nego li bilo kakvo povijesno ili kulturno naslijeđe. Upravo je Prévostovo stalno istraživanje rezultiralo čitavim nizom zvukova koji se vezuju uz njegov rad, posebice onaj unutar AMM-a i njegov daljnji razvoj kroz druge ansamble.

Sviranje bubnjeva u AMM-u isprva je ustupilo mjesto diskretnom sviranju udaraljki, koje se ponajviše oslanjalo na zvuk i teksturu, nego li na ritam. Ipak, kako se AMM razvijao i počeo usvajati i razvijati inovativni utjecaj, bubnjanje je zauzelo drugo mjesto u Prévostovom bavljenju glazbom. Osim rijetkih nastupa, sam se nije temeljitije posvetio jazz bubnjevima sve do 2007/08. godine.

Tijekom niza godina, Prévost je organizirao radionice u mnogim dijelovima svijeta, uglavnom unutar londonske improvizacijske scene, organizirajući koncerte (uključujući festival Freedom of the City, zajedno s Evanom Parkerom), kao i održavajući tjedne Londonske improvizacijske radionice, koje su ušle u svoju četrnaestu godinu održavanja i dosad su privukle glazbenike iz preko dvadeset različitih nacionalnosti. Osim sviranja, Prévost je objavio nekolicinu knjiga i tekstova. Njegovi glavni tekstovi mogu se naći u trima knjigama: No Sound is Innocent, Minute Particulars i The First Concert.  Također, uredio je i objavio nekolicinu tekstova i snimki intervjua Corneliusa Cardewa, te njegovu biografiju, Cornelius Cardew a life unfinished, koje je autor John Tilbury.

The improvisational ensemble AMM was co-founded in 1965 by Eddie Prévost together with Lou Gare and Keith Rowe. They were shortly joined Lawrence Sheaff and Cornelius Cardew. Thereafter, Cardew, Gare, Prévost and Rowe remained as basis of the ensemble until a fracture in 1972. Other more formally trained musicians were to enter the ranks of AMM after Cardew’s departure, including especially pianist John Tilbury. The latter being friend and early associate of Cardew; later to become his biographer.

The investigative dynamic of AMM leads a musician to seek out new material. It is the fabric and constitution of stuff that is considered as more important than any historical or cultural heritage. It is Prévost’s constant exploration that has produced the range of sounds associated with his work, particularly within AMM and its extension to the many workshop ensembles.

Drumming with AMM was principally replaced by discreet percussion work which by and large relied on sound and texture rather than rhythm. Drumming however, was to take a back seat in Prévost’s musical output as AMM developed and began to acquire and enhance its innovative reputation. And, apart from rare musical outings he did not commit himself, more fully, to the jazz drum kit again until 2007/08.
Over many years Prévost has convened workshops in many parts of the world, mostly within the London improvising music scene; organising concerts (including Freedom of the City festival, together with Evan Parker) as well as maintaining the weekly London improvisation workshop, now in its fourteenth year and which has attracted musicians of over twenty different nationalities.

Prévost has published variously over the years. His principal writings can be found in three books: No Sound is Innocent (Copula,1995), Minute Particulars (Copula, 2004) and The First Concert(Copula, 2011). He has also edited the published writings and broadcast talks of Cornelius Cardew and he published John Tilbury’s biography Cornelius Cardew a life unfinished.

Violinistica Jennifer Allum odrasla je na Bliskom Istoku, a glazbu je studirala na Sveučilištu u Yorku i Goldsmiths Collegeu Sveučilišta u Londonu. Od 2005. godine Jennifer pohađa tjedne improvizacijske radionice Eddieja Prévosta. Kroz ove susrete formirale su se važne glazbene veze sa glazbenicima kao što su Eddie Prévost, Ross Lambert, Grundik Kasyansky i Ute Kanngiesser. Za studija na Goldsmithsu, Jennifer je osnovala Post Quartet, gudački kvartet posvećen glazbi nastaloj nakon 1945. godine, s posebnim fokusom na generaciju nakon ansambla Scratch Orchestra. Zajedno s kvartetom surađivala je sa skladateljima poput Christiana Wolffa, Toma Johnsona, Johna Lelyja, Tima Parkinsona, Michaela Parsonsa i Michaela Pisara.

Jennifer Allum violin, 28, who grew up in the Middle East and studied music at York University and Goldsmiths College, University of London. Since 2005 Jennifer has attended Eddie Prévost’s weekly improvisation workshop. Through these meetings important musical relationships have been formed with the likes of Eddie Prévost, Ross Lambert, Grundik Kasyansky and Ute Kanngiesser. While at Goldsmiths, Jennifer established the Post Quartet a string quartet dedicated to music post-1945 with a special focus on the post Scratch Orchestra generation. With the quartet she has worked with composers such as Christian Wolff, Tom Johnson, John Lely, Tim Parkinson, Michael Parsons and Michael Pisaro. 

Marjolaine Charbin je francuska pijanistica, bazirana u Londonu. Osim klasičnog sviranja (tipke), također intervenira unutar instrumenta različitim predmetima i napravama, ponekad bez ozvučenja, ponekad koristeći pojačalo, a neki od predmeta koje u zadnje vrijeme koristi uključuju kirurška pomagala i seks-igračke. Nastupa solistički i surađuje s drugim glazbenicima i plesačima iz čitave Europe, kao što su Frans van Isacker, Julyen Hamilton, Theodossia Stathi, Olivier Toulemonde, Grundik Kasiansky, Dimitra Lazaridou-Chatzigoga, Guillaume Viltard, Jennifer Allum i Eddie Prévost.  
Marjolaine je rođena i odrasla u Francuskoj, godinama je živjela u Bruxellesu, gdje je studirala sound engineering i potom jazz klavir na Kraljevskom konzervatoriju. Pred kraj studija razvila je snažan interes i predanost improviziranoj glazbi i otada je pohađala radionice sa Joelle Leandre, Evanom Parkerom i radionicu u Baniff Centru sa Daveom Douglasom. Neki od glazbenika s kojima je svirala su Paul Dunmall, Maggie Nichols, Peter Evans, Rhodri Davies, Dominic Lash, Ann Eisermans, Lawrence Casserley, Jean-Michel Van Schouwburg, Carlos Zingaro, Audrey Lauro, Neil Davidson, David Toop i Ute Kanngiesser, a otkad živi u Londonu pohađa radionice Eddieja Prévosta. Marjolaine također kurira niz umjetničkih događanja na raznolikoj glazbenoj, plesnoj i spoken word sceni u Bruxellesu, pod naslovom „There is Still a Body“, kreirala je i izvodila glazbenu i spoken word adaptaciju djela La Maladie de la Mort  Marguerite Duras, a trenutno radi na glazbu za eksperimentalni dokumentarni film Le Nouveau Monde Philipea Van Cutsema.

Marjolaine Charbin is a French pianist based in London. As well as working with the keyboard, she intervenes inside the piano with objects and devices, sometimes acoustically, sometimes using amplification, with recent additions to her repertoire including surgical tools and sex toys. She is both a solo and collaborative performer, working with musicians and dancers across Europe such as Frans van Isacker, Julyen Hamilton, Theodossia Stathi, Olivier Toulemonde, Grundik Kasiansky, Dimitra Lazaridou-Chatzigoga, Guillaume Viltard, Jennifer Allum and Eddie Prévost. Born and brought up in France, Marjolaine lived in Brussels for many years, studying sound engineering and then jazz piano at the Royal Conservatoire. Towards the end of her studies she developed a strong commitment to improvised music and has since attended workshops with Joelle Leandre, Evan Parker and in the Banff Center with Dave Douglas. She has played with musicians including Paul Dunmall, Maggie Nichols, Peter Evans, Rhodri Davies, Dominic Lash, Ann Eisermans, Lawrence Casserley, Jean-Michel Van Schouwburg, Carlos Zingaro, Audrey Lauro, Neil Davidson, David Toop and Ute Kanngiesser, and since moving to London has been involved with the Eddie Prévost’s workshop sessions. Marjolaine also curates a series of events in Brussles spanning music, dance and the spoken word, titled There is Still a Body, has devised and performed a music and spoken word duo adaptation of La Maladie de la Mort by Marguerite Duras, and is currently working on a musical soundtrack for an experimental documentary film Le Nouveau Monde by Phillipe Van Cutsem