Alfredo Genovesi (aka Al Bastardo)
will fill the room with electronic fluid as if it were a womb. As it/we sound, feel encouraged to sit and look elsewhere: inward, downwards, sideways, upwards aroundwards. But not directly at me for handsome though i may be to the chosen few, nothing of real interest is really happening there. i am just in space as you are. Help me to break it nicely.
www.myspace.com/alfredogenovesi
RICARDO TEJERO Saxophonist, clarinettist, composer and conductor.
Born in Madrid, he lives in England since 2001 where he is very active within the improvised music scene of London, city where he moved in 2005. At present he combines his education job as music teacher with the work of different projects such as Ensemble Progresivo (own quintet.
Record: “Progressions” 2007), Mexpanglo (Machinations of Joy, 2008. Audiotalaia), Triatone, Roland Ramanan Tentet (“London”. Leo Records, 2010), LIO (London Improvisers Orchestra), WARY, FOCO (Spanish Improvised Music Association’s Orchestra). Graduated in Jazz and Contemporary Music at Leeds College of Music in 2005 and Masters in Contemporary Music at Brunel University (London) in 2007 under professors Peter Wiegold and Ricahrd Barret. At present he works and collaborates with musicians such Roland Ramanan, Marcio Mattos, Javier Carmona, Dave Tucker, Mark Sanders, Dominic Lash, Steve Beresford, John Edwards, Tony Marsh, Veyan Weston, Adrian Northover, Alison Blunt among others. He has played in different festivals and venues of UK, Spain, Holland, Norway, Germany and Belgium.
FACET
Joris Rühl - clarinets
Adrian Myhr - doublebass
Maciej Sledziecki - guitar
If questioned about their influences the band cite northern minimalism, no wave music and electronic sound collages. Although FACET's music has, on the surface, nothing to do with rock, it still breathes the spirit of no wave, un-rock, and therefore rock music. With their intensive play FACET create dense textures and great depths through minimalism or scurrilous individuality. Throaty squeaks and guitar misuse contrast with resonant percussion and bubbling woodwind to create a powerful result. The trio's working method of compiling undogmatic group improvisation creates, with all its abstraction, an overriding rhythmical flow.
"These boys don't play a lot of different notes and tones. They keep things to a minimum. […] Quite intense playing at that actually, held backed, controlled, with each player receiving the space they need. […] The real beauty lies in the improvising densities they create with their music. Nice one indeed." Frans de Ward, Vital Weekly 705