Alberto Ritter Tusi,
Ecoaudio Music producer, soundtrack composer, and sound designer from Brazil.

albertoritter@gmail.com


0555596664312

New album out november 2018 on Odin records: Pet Variations

Fredrik Ljungkvist: reeds
Magnus Broo: trumpet
Håvard Wiik: piano
Ingebrigt Håker Flaten: double bass
Hans Hulbækmo: drums/percussion

Kevin McNeilly talks and writes. He also teaches in the English Department at the University of British Columbia.

"Daringly different and dazzlingly diverse" Rough Trade

TROPICAL FUCK STORM / DERADOORIAN / THE LEMONHEADS / EARTH / LUCKY BREAK / HAYLIE DAVIS / WHITNEY K / BLACK LIPS / MONDE UFO / PICTISH TRAIL / GRAHAM REYNOLDS / VANISHING TWIN / JANE WEAVER / DECISIVE PINK / MARINA ALLEN / RVG / BAS JAN / MARTA DEL GRANDI / ISLET / ELLA RAPHAEL / FATEN KANAAN / LUCY GOOCH / HATER / RATS ON RAFTS / JOSEPHINE FOSTER / DEATH AND VANILLA / ROYAL TRUX / KRISTIN HERSH / THROWING MUSES / THE CHILLS / HALF JAPANESE / SEBADOH / THE DREAM SYNDICATE / AMBER ARCADES

a record label dedicated to release work by the most adventurous and creative norwegian artists and composers

Nakama is Japanese and can be translated as «comrade», or simply a community of people where no one is above the other. Nakama is an expansive band, and as of 2015 it consists of four genuine artists who give life to a material which can be characterized as European jazz anno 2000, American contemporary music anno 1960, Japanese traditional music and a touch of romantic music. Nakama is emptiness and form, form and emptiness. It is what you get when you mix
Japanese anime, minimalism, chili and zen-buddhism. Nakama is an attempt to make the world a better place through the exploration of sound and silence. Nakama is what it is, and Nakama is:
Adrian Løseth Waade - violin
Ayumi Tanaka - piano
Andreas Wildhagen - drums
Christian Meaas Svendsen - bass

suddenlyLISTEN Music based in Halifax, Nova Scotia, Canada, is focused exclusively on exploratory, improvised chamber music and creative art events.
We celebrate improvisation, and are opening minds and ears through unique listening adventures and hands-on experiences.

The musicians presented in suddenlyLISTEN concerts share a common passion and skill for expressing themselves musically in the moment. Through conscious listening, and a wide variety of artists and aesthetics, suddenlyLISTEN concerts create a sound all their own, embodying openness, cooperation, vulnerability, intelligence and wit.

Born in Warwick, Rhode Island on September 22nd, 1964, Ken Vandermark began studying the tenor saxophone at the age of 16. Since graduating with a degree in Film and Communications from McGill University during the spring of 1986, his primary creative emphasis has been the exploration of contemporary music that deals directly with advanced methods of improvisation. In 1989, he moved to Chicago from Boston, and has worked continuously from the early 1990′s onward, both as a performer and organizer in North America and Europe, recording in a large array of contexts, with many internationally renowned musicians (such as Fred Anderson, Ab Baars, Peter Brötzmann, Tim Daisy, Hamid Drake, Terrie Ex, Mats Gustafsson, Devin Hoff, Christof Kurzmann, Fred Lonberg-Holm, Joe McPhee, Paal Nilssen-Love, Paul Lytton, Andy Moor, Joe Morris, and Nate Wooley). His current activity includes work with Made To Break, The Resonance Ensemble, Side A, Lean Left, Fire Room, the DKV Trio, and duos with Paal Nilssen-Love and Tim Daisy; in addition, he is the music director of the experimental Pop band, The Margots. More than half of each year is spent touring in Europe, North America, and Japan, and his concerts and numerous recordings have been critically acclaimed both at home and abroad. In addition to the tenor sax, he also plays the bass and Bb clarinet, and baritone saxophone. In 1999 he was awarded the MacArthur prize for music.



The 416 Toronto Creative Improvisers Festival is a yearly showcase for the vibrant Toronto improvised music scene.  The 416 area code’s finest improvising musicians, and sometimes visitors from farther afield, play in a wide variety of styles in 3 or 4 sets over each of the festival’s 4 nights.  Their improvisations take the form of completely free-form spontaneous compositions, created entirely “in the moment, at the moment of performance, by the performers”.  At other times, a drawing, graphic, object, original musical chart or just the audience ‘vibe’, are used to inspire the music.

The 416 is a celebration of music-making on a tightrope.


Rough Idea is following