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Steve Lehman will be performing in Cankarjev dom on 3.2.

More info’s about the concert:

Steve Lehman, altovski saksofon, elektronika; Jonathan Finlayson, trobenta; Mark Shim,tenor saxophone; Chris Dingman, vibraphone; Tim Albright, trombone; Dan Peck, tuba; Andrew Gress, bass; Cody Brown, drums

A leading figure in new jazz, Steve Lehman mesmerised the Slovenian audiences in 2013, when his trio was featured within the Tuesday Clubbing series. The octet’s latest album,Mise en Abime (PI Recordings, 2014), has been praised by the critics as a jazz tour de force. The octet’s debut recording, Travail, Transformation & Flow (Pi, 2009), was called the #1 Jazz/Pop CD of 2009 by The New York Times and described as “a breathtaking accomplishment, a blast of urban futurism at once hypnotic, kinetic and kaleidoscopic. And funky.” The album was called one of the “Top 10 CDs of 2009” by over 30 publications, including ArtForum, Newsweek, and The Village Voice. The octet has received an abundance of critical acclaim for its synthesis of spectral harmony and improvisation.

The Steve Lehman Octet is comprised of an all-star assemblage of performer/improvisers who represent the absolute state-of-the-art on their respective instruments.

Oktet Steva Lehmana odlikuje zvezdniška zasedba izvajalcev/improvizatorjev, absolutnih mojstrov glasbila.

“One of the transforming figures of early 21st-century jazz.” The Guardian

“A quietly dazzling saxophonist.” New York Times

“Music of genuinely visionary importance, a way forward for the art.” Penguin Guide to Jazz

steve

INTERVIEW WITH STEVE LEHMAN

STEVE LEHMAN OCTET – SEGREGATED & SEQUENTIAL

STEVE LEHMAN TRIO – MOMENT’S NOTICE

STEVE LEHMAN IS OUR GUEST IN THIS WEEK’S EDITION OF TOP5

B.A. ZIMMERMAN — PRELUDE (DIE SOLDATEN)

It’s kind of amazing to me that this video even exists, as it provides a really unique perspective on one of my all-time favorite pieces of percussion writing. This excerpt is taken from the Prelude to B.A. Zimmermann’s 1958/1965 opera, Die Soldaten. I find myself coming back to this passage pretty often, as it exemplifies a lot of the things I try to do in my own writing: (A) creating a sense of ritual through rhythm (B) using silences, ornamentation, and asymmetrical rhythms to create a feeling of disruption and imbalance, and  (C) establishing a continuum of rhythmic stability and instability that is highly expressive.

BETTY CARTER — DROPPIN’ THINGS

It’s hard to know how to begin talking about Betty Carter and her amazing legacy as a composer/performer. Suffice to say that she has a one-of-a-kind sense of rhythm and phrasing that somehow manages to sound futuristic, inevitable, highly sophisticated, organic, and deeply moving, all at the same time! And, of course, those are musical characteristics that I continue to strive for in my own work.

FIELDWORK — REQUIEM/RITUAL & GHOST TIME

I have been playing with Vijay Iyer and Tyshawn Sorey in Fieldwork since 2004, and it would be almost impossible to overstate the significance of that collaboration with regard to many of my current ideas about rhythm and about music in general. In fact, many of the musical ideas at the heart of Impossible Flow, were first developed in collaboration with Tyshawn and Vijay during Fieldwork rehearsals. This 10-minute video taken from a performance in NYC in August 2009 provides a nice snapshot of some of the work that we’ve done together over the past 7 years.

AUTECHRE – QPLAY

I’ve been checking out Autechre’s music for a long time. But, I think this last album, Oversteps, is the one that’s easiest for me to relate to. This track, Qplay (3:00), provides a really clear example of the some of the ways that Autechre uses rhythm and careful timings to blur the perceptual boundaries between ambient sound, noise and pitched sound.

VAL-INC – (VAL JEANTY)

Val-Inc is a composer and electronic musician who I have been following for almost ten years. In addition to her preternatural ability to create organic and highly textured sounds within an electro-acoustic setting, Val consistently finds ways to use rhythm and recorded sound to create powerful and otherworldly musical rituals.