tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro
doors: 8.00 pm CEST
concert starts:
approx. 8.30 pm CEST
This trio formed in 2022 for a week’s tour in Switzerland. Over 7 nights they produced music of both exhilarating power and subtle transformations.
In the sleeve notes for their forthcoming Hat Hut release “Braids” (recorded on the tour’s last date), Brian Morton wrote a snapshot of just one night, rather than an indication of what will necessarily come next:
“Three men who are quite capable of lifting the roof, should they choose to. But each of them has always had an instinct for delicacy, for the overtone over the moment of attack, and for the spaces between sounds. Corsano’s rhythms, even when playing free, are like spider webs on a misty morning. Butcher is a master of the subtle overtone, the accidentals (which, of course, he can control precisely) that surround the tones and come back off the walls and the audience. Stoffner has the same precision of touch and sense of absolute detail. The guitar famously was the instrument that allowed untutored use to pick a chord and go twang, but it’s also an instrument of extraordinary sophistication, laden with secret sounds: sighing, plinking like a music box, muscling out big chords.”...
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tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro
doors: 8.00 pm CEST
concert starts:
approx. 8.30 pm CEST
This trio formed in 2022 for a week’s tour in Switzerland. Over 7 nights they produced music of both exhilarating power and subtle transformations.
In the sleeve notes for their forthcoming Hat Hut release “Braids” (recorded on the tour’s last date), Brian Morton wrote a snapshot of just one night, rather than an indication of what will necessarily come next:
“Three men who are quite capable of lifting the roof, should they choose to. But each of them has always had an instinct for delicacy, for the overtone over the moment of attack, and for the spaces between sounds. Corsano’s rhythms, even when playing free, are like spider webs on a misty morning. Butcher is a master of the subtle overtone, the accidentals (which, of course, he can control precisely) that surround the tones and come back off the walls and the audience. Stoffner has the same precision of touch and sense of absolute detail. The guitar famously was the instrument that allowed untutored use to pick a chord and go twang, but it’s also an instrument of extraordinary sophistication, laden with secret sounds: sighing, plinking like a music box, muscling out big chords.”
Brian Morton
CHRIS CORSANO is a New York-based drummer who has been working at the intersections of free jazz, avant-rock, and experimental music since the late ’90s.
He’s a rim-batterer of choice for some of the greatest contemporary purveyors of „jazz“ (Joe McPhee, Paul Flaherty, Mette Rasmussen, Zoh Amba) and „rock“ (Sir Richard Bishop, Bill Orcutt, Jim O’Rourke), as well as artists beyond categorization (Björk for her Volta album and world tour, Michael Flower, Okkyung Lee).
Corsano has built an inventive and highly personal musical language through ecstatic free improvisation, extended percussion techniques, and using circular-breathed reeds and bowed strings to coax new resonances out of drum heads. He’s been called a „powerhouse drummer“ by Rolling Stone, an „ace of the avant-garde“ by The New York Times, „one of the world’s great drummers“ by The Guardian, and „arguably the most riotously energetic and creative drummer in contemporary free jazz“ by Wire Magazine. In 2013 Spin Magazine ranked him as one of the ‚100 Greatest Drummers of Alternative Music.’
https://www.cor-sano.com/
FLO STOFFNER is unmistakable and unique in his way of playing the guitar. A deconstruction of guitar playing, which has been called „a kind of autopsy of the guitar sound“.
Solo or in collaboration with musicians such as Paul Lovens, Rudi Mahall, Alfred Zimmerlin, David Meier, Albert Cirera, Lionel Friedli, Jason Kahn, John Butcher, Chris Corsano or Hans Koch, but also the spoken-word artist Anna Frey, he has become one of the outstanding figures of the Swiss improvisation scene.
As forward-looking as he is backward-looking, he holds the banner of instant composing high and proves again and again how lively, surprising and up to date the tradition of free improvisation is today.
JOHN BUTCHER is well known as a saxophonist who attempts to engage with the uniqueness of time and place. His music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and extreme acoustics. Since the early 80s he has collaborated with hundreds of artists – including Derek Bailey, Eddie Prévost, the Spontaneous Music Ensemble, Steve Beresford, Okkyung Lee, Rhodri Davies, Sophie Agnel, Christian Marclay and Matthew Shipp. He also values occasional encounters – from the full WDR Sinfonieorchester to duos with Akio Suzuki, Keiji Haino, David Toop, Liz Allbee, Fred Frith and Joe McPhee.
Recent compositions include “Penny Wands” for Futurist Intonarumori, “Good Liquor…” for the London Sinfonietta and “Tarab Cuts” (shortlisted for a British Composer’s Award).
Tiny Mix Tapes wrote: “Extraordinarily powerful, Butcher’s saxophone may test the limits of one’s ear to make sense of the close and complex relationships that are put forth, but there’s an undeniable emotional depth and sheer beauty in his work that supersedes technicality and concept.”
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