Lara Süß: voc, FX
Eva-Maria Karbacher: tenor saxophone

Mixing/Mastering: Mikael Szafirowski

Neukristallisation

Kontaktmetamorph

Black Hills In Dakotas, Hawai (Honsinger)
In the Sea
Tristan Honsinger - cello
Nicolas Caloia - double bass
Joshua Zubot - violin
Union Arts, Washington DC 03 10 2015

In the Sea - Black Hills In Dakotas, Hawai - Washington DC 03 10 2015

composed by: Péter Fehérváry

singers: Péter Fehérváry, Dávid 'Tripo' Tripsánszki

Dolgozz

Excerpt from the opening concert of Miroslav Toth's curated month at JazzaJ concert series.

Miroslav Tóth - szaxofon
Kováts Gergő - szaxofon
Meggyes Ádám - trombita
Csapó Krisztián - harsona
Michal Matejka - bendzsó
Móser Ádám - harmonika
Gyányi Marcell - bőgő
Kovács Gergely - dob

Recorded and edited by Pap Dávid Tamás

Miro Toth - Funeral Marching Band - 2016.10.05.

This is an extremely stretched and spectrally a little bit tinkered version of an idle microphone signal lasting for about one tenth of a second.

OneTenth (2017)

The score of "Stones" consists of just a few lines of text:

Make sounds with stones, draw sounds out of stones, using a number of sizes and kinds (and colours); for the most part discretely; sometimes in rapid sequences. For the most part striking stones wfth stones, but also stones on other surfaces (inside the open head of a drum, for instance) or other than struck (bowed, for instance, or amplified). Do not break anything. 
Christian Wolff, STONES, (from: Prose Collection, 1968-74)

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Wandelweiser Composers Ensemble:

Antoine Beuger
Jürg Frey
Chico Mello
Michael Pisaro
Burkard Schlothauer
Kunsu Shim
Thomas Stiegler

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Recorded by Peter Hecker at atelier bubu, Berlin, 1995. Executive Producer - Peter Hecker. 

Available as 320k MP3 or 16bit FLAC.

CHRISTIAN WOLFF
Christian Wolff emerged in the 1950s on the New York experimental music scene and became a prominent champion of the aesthetics of musical indeterminism. His works, which became increasingly explicit in their political content as his career progressed, stress choice, artistic co-operation and interdependence, and an accommodating attitude toward the potential relationships between music, sound and silence. Wolff studied classics and comparative literature at Harvard University. Though active as a pianist and electric guitarist throughout his career, he was largely self-taught as a composer, and from the beginning his works relied more on careful aesthetic design than compositional “craft” in the traditional sense. Although his works of the 1950s already conveyed a decidedly “democratic” subtext, with their reliance on freedom and reaction (“parliamentary participation”), they did so through traditional notation and sometimes invoked, however obscurely, traditional forms. The flexibility of their realisations owed to Cage’s influence, while their sparse surfaces recalled Webern, and in some cases resonated with La Monte Young’s early works. His compositions from the late 1950s and 1960s placed increased effort on real-time cooperation between performers, who worked somewhat freely, within certain set parameters (set durations with unspecified pitches, for example), but were required to alter their performative decisions consequent to each other’s actions. Later works turned inwards to more specifically musical topics, perhaps due in part to Wolff’s somewhat self-effacing assessment of the composer’s role. As he observed in a 1991 interview: “Most political music, paradoxically enough, is for the converted; it’s an instrument of cohesion for a group that already knows what it wants.” – Jeremy Grimshaw, Allmusic

EWR9607 - Christian Wolff "stones" [sample]

Winter biome #1

Live concert recordings (extracts) 
@ Lumen 19/12/2018
@ Societe 11/04/2019

Balint Szabo aka @Gosheven - guitar, electronics
Andras Halmos @andrashalmos - drums
Erno Hock - bass
Marcell Gyanyi @marcellgyanyi - bass
Mate Pozsar @pozsarmate - keyboards
Dori Gyorfi - vocal, gamelan instruments
Agi Gyorfi - gamelan instruments

Live extracts

TR094 - Iztok Koren - 'Fire Is Armor'

TR096 - Neil Charles - Bass solo

A JazzaJ egy 2011-ben indított nyitott-zenei koncertsorozat. Olyan zenészeket hívunk meg, akik kizökkentenek a megszokott mederből. Ha akarnánk, se tudnánk őket egy kalap alá venni - free jazz, experimentális pop, elektroakusztikus improvizált zene mind felbukkan. Ami közös bennük, hogy a saját zenéjüket játszák, nyitottan a pillanatra. A közönség: alkotótárs.
. . . 
JazzaJ is an out-of-the-box music series presenting the evolving Hungarian improv scene in an international context. We believe that the double power of presence and listening generates a unique space where true communication is possible.

Miro Toth - Funeral Marching Band - 2016.10.05.

JAZZAJ

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