Manafonistas

 

 
 
 
Sich Verschiedenes anhören und Gleiches heraushören
 
Sich Gleiches anhören und Verschiedenes heraushören
 
Wo liegt der Schlüssel?
 
 
©FoBo_HenningBolte

Norwegian poet Nils Christian Moe-Repstad in a duo performance at 46th Poetry International festival in Rotterdam with pianist Fulco Ottervanger of famous trio De Beren Gieren (the bears are shrieking) reading „Poisoning 16“
 
 
 

 
 
 
V I D E O
 
 
 

 
 
 
The duo was a spontaneous decision. Moe-Repstad appeared for his soundcheck at the moment that pianist Fulco Ottervanger from Ghent was finishing his soundcheck. Ottervanger was supposed to open Moe-Repstad’s recitation as a separate performance. When Moe-Repstad heard him playing during the soundcheck, he proposed to do the opening totally improvised together. It came out like this. And, it became the talk of the festival then.
 
More about De Beren Gieren (the bears are shrieking) from Ghent HERE
 
The concert of the live-review has now been released on CLEAN FEED, entitled The Detour Fish (Live In Ljubljana)
 
 
RADIO, june 28, later ON DEMAND
 
BIJdeTIJDS: „wordsasmusic“ – Nils Christian Moe-Repstad en Scardanelli
 
 
PLAYLIST
 
Christian Moe-Repstad – Theory of the Singular. Jazzland Rec. (w/Nils Petter Molvær, Eivind Aarset, Jan Bang, Erik Honoré)
 
1 De biologische undergangene
2 År deponert I koder
3 Døden I alveolene
4 Enfoldige kongers hender
5 Det fortelles om traner
6 Hjertets vener faller sammen som elvemunninger
7 Avblomstring av kjønnet
 
 
Harald Bergman – Scardanelli. ECM New Series
 
8 Ich heisse Scardanelli
9 Der Frühling (Wenn neu das Licht …)
10 Die Aussicht (Der offene Tag …)
 
 
Heinz Holliger – Scardanelli-Zyklus. ECM New Series
 
11 Glocken-Alphabet
12 Der ferne Klang
13 (t)air(e)
 
 
 

 
 

Foto Fulco Ottervangern ©FoBo_

In verschiedenen Nachrufen auf Ornette wird erwähnt, dass er 2009 beim Konzert auf dem brandenburgischen Schloss Neuhardenberg bei einsetzendem Regen “Billy Jean” von Michael Jackson (1958-2009) spielte. Erstaunlich? Nein, eigentlich nicht. Die Klänge des Stücks kommen von weiter her, von tief unten.
 
 
V I D E O “Billy Jean” (Michael Jackson)
 
 
 

 
 
 
V I D E O “Little Rootie Tootie” (Thelonius Monk)
 
 
 

 
 
 
Wie mag Ornettes Gruppe geklungen haben? Wer war dabei?
 

auch von weiter her:
 
 
V I D E O long Bill Bailey’s moonwalk 1955
 
V I D E O short Bill Bailey’s moonwalk 1955
 
 
 

 

 

 
 
 
Ornette, he has gone. He changed our way of listening …
 

„I have always wanted to have more rhythm. Rhythm doesn´t have any parents and doesn´t have a style either. It just changes everything that touches it equally. You can´t dominate rhythm. Some call it the upbeat or the downbeat, but you either have to find a way to relate to it or let it pass.“

from Ornette´s conversation with WAX POETICS’ John Kruth to read H E R E
 
 
Ornette ist es stets gelungen, so über Klang und Musik zu reden, dass letztere nicht festnagelbar waren!

It´s quite strange that the German obituaries don´t mention or deal with Ornette´s work with Joachim Kühn … Reasons?
 
 
A chronological selection of audio/video of recordings you can find HERE

Ornette, he has gone. He changed our way of listening …
 
He was one of the great artists of the (bygone) 20th century
He uncovered something, trusted his ears and (inner) voice,
kept track, distinguished and made no hierarchal differences
 
for me the quintessential song of Ornette still is UNA MUY BONITA,
 
 
listen H E R E
 
 
recorded in october 1959 with Don Cherry, Charlie Haden and Billy Higgins, produced by Nesuhi Ertegün for Atlantic. It is from the album Change Of The Century, released in june 1960
 
 
 

 
 
 
Here are two obituary texts I like, one by Peter Margasak and one by Taylor Ho Bynum
 
 
And here is what Charles Lloyd said when he heard Ornette had left the planet
 

„Loneliness of the long distance runner. He knew his name and wouldn’t play the game. Deep in stardust he transposed the fight of Bird into the key of the Universe – the sighs, the cries, the tenderness, the warmth, the longing, the injustice and the justice. He understood and was beyond all that. Despite Kooliwaukee and Perspepitou, Pyramids came to say hello to him. He played on Vesuvius before it was swallowed by Pompeii. Music of the Spheres, his song is your song. Celestial. Manifest in the Absolute. Hologram.“

 
Charles Lloyd met Ornette during the formative Los Angeles years
 
Ornette created a song „Sadness“,
 
performed in 1962 at NY Town Hall w/David Izenzon — double bass Charles Moffat — drums Selwart Clark — violin Nathan Goldstein — violin Julian Barber – Kermit Moore — cello and himself on alto,
 
 
listen H E R E
 
 
And here is what Ornette had to say in Berlin, 1971. All from bygone days but …
 
 
listen H E R E
 
 
Was it (something) simple? …

2015 ist für Armenier nicht irgendein Jahr …
 
 
 

 
 
 
Il bassiste Claude Tchamitchian (Marseille) a formé un sextette spéciale, sextet „2015“:
Géraldine Keller, voix, François Corneloup et Daniel Erdmann, saxophones, Christophe Marguet, batterie, Philippe Deschepper, guitare
 
 
VIDEO
 
 
Ici Tchamitchian sur Manafonistas
 
et
 
Tchamitchian RADIO ON DEMAND

Tigran Hamasyan is twenty-eight years old. He grew up in Gyumri, the former Alexandropol, also the birth-place of Gurdjieff. Gurdjieff however grew up in Kars, then part of Russia with a multi-ethnic and multi-lingual population of Armenians, Russians, Caucasus Greeks, Caucasus Germans, Turks, Kurds and Estonians. Kars is now situated at the Turkish side of the still closed Armenian Turkish border.
 

Here is a VIDEO clip of the second part of the piece „Kars (Wounds Of The Century“ from Hamasyan’s last album, based on the Armenian folk melody „Yaman Yar“.
 
 
 

 

2015 ist für Armenier nicht irgendein Jahr …
 
Levon Eskenian war gerade mit seinem Ensemble mit einem Gurdjieff/Komitas-Programm
 
 
 

beim Holland Festival in Amsterdam und in Brüssel – siehe unter HOLLAND and HAYASTAN
 
 
 

 
 
 
 
und kehrt zur Eröffnung des MORGENLAND FESTIVALs am 22.Juli zurück nach Osnabrück.
 
 
 

Als Prolog gibt es am 21. Juli ein Solo-Konzert von Djivan Gasparyan
 
Und Tigran Hamasyan hat sich mit Chor aufgemacht, dem Yerevan State Choir.
Bereits im September erscheint das Werk bei ECM.
 
 
 

Tigran’s first ECM project features Hamasyan on piano and the Yerevan state chamber choir directed by Harutyun Topikyan. The new project, named “Luys i Luso” which will be released in Autumn 2015, was recorded in Yerevan in October 2014 and produced by Manfred Eicher. This is Tigran’s extraordinary exploration of Armenian sacred music from 5th to 19th centu- ries, and includes compositions by Mesrop Mashtots, Grigor Naregatsi, Nerses Shnorhali, Mkhitar Ayrivanetsi, Khachatur Taronetsi, Makar Yekmalyan and Komitas – all of them arranged for piano and voices by Tigran himself.
 
ECM 2447 CD 473 2383
 
 
Tour Dates
 
23-6 Aghtamar Isl. (TR)
25-6 Diyarbakir (TR)
27-6 Kayseri (TR)
29-6 Vakifli (TR)
30-6 Istanbul (TR)
08-10 Lille (F)
09-10 Lyon (F)
10-10 Belfort (F)
13-10 Lausanne (CH)
14-10 Zurich (CH)
16-10 London (UK)
17-10 Dublin (IRE)
19-10 Angoulême (F)
20-10 Paris (F)
21-10 Nîmes (F)
22-10 Marseille (F)
23-10 München (D)
05-12 Los Angeles (USA)
07-12 New York (USA)
 

Ornette, he has gone. He changed our way of listening …
 
 
 

 

PUNKT 2 0 1 5 PUNKT geschieht sept 3 – 5 PUNKT
 
 
 

 
 
 
VIDEO retroprospektiv – und zum PROGRAMM 2015
 
Lesen zu PUNKT 2014 HIER
 
 
 

 
 
 
©FoBo_HenningBolte