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4 Nov 2007 - 21:00

time shifts II

Johannes Bauer (trombone)
Clayton Thomas (bass)
Paul Lovens (percussion)

time shifts is a concert series
consisting of 4 nights with 5 different constellations. each set brings
together so-called "old heroes" and "young stars" from the world of
experimental & improvised music. the selected artists come from
different generations (born in between 1942 - 1979) and various
stylistic backgrounds like noise, free folk, free jazz,
electro-acoustic improvisation, minimal music, avant pop, ....
idea was to invite artists who are all open to challenge and to break
down artistic boundaries. In the last 15 and more years the berlin
scene (similiar to scenes elsewhere) was constantly in danger of being
divided into many small & rivaling mini-fractions - little
sub-scenes which often acted with a lot of scepticism and competition
against each other. time shifts tries to work against this tendency and
wants to start a dialogue between seemingly opposed positions.

shifts is a co-production of Zangi Music Berlin & ausland and is
supported by "Initiative Neue Musik" Berlin e.V. & "Konzert des
Deutschen Musikrates"

-born 1954 in Halle/Saale (GDR), studied music (trombone) in East-Berlin
-since 1979 freelance improvising musician, lives in Berlin
-leader of several workshop bands
-member and founder of Doppelmoppel, Slawterhaus, The Tradition Trio, FOURinONE, FUTCH a.o.
-collaborated for many years with Manfred Schulze, Peter Brötzmann, Jon Rose, Fred Van Hove, Barry Guy a.o.
-extensive discography
Selected Discography:
FUTCH (Johannes Bauer / Thomas Lehn / Jon Rose)
FUTCH / jazzwerkstatt JW 010
Joh. Bauer / Annick Nozati / Fred Van Hove
Organo Pleno / FMP 56
Conrad and Johannes Bauer - BAUER BAUER Intakt 040
Doppelmoppel (Joh. Bauer / Conrad Bauer / Uwe Kropinski / Joe Sachse) - Reflections / FMP 74
Alan Silva / Joh. Bauer / Roger Turner - IN THE TRADITION / in situ 15
FOURinONE (Joh. Bauer / Luc Houtkamp / Dieter Manderscheid - STEHLEN / RA 026

geboren 1976 in Tasmanien, begann 24jährig als Autodidakt in Sydney, von Anfang an auf Improvisierte Musik fixiert, nahm er später Unterricht bei Wilber Morris, Henry Grimes und Peter Kowald. Durch den Einsatz erweiterter Spieltechniken und seiner großen physischen Präsenz erreicht seine Musik unerwartete Dimensionen. Er spielt mit Musikern aller Generationen z.B. Alex v. Schlippenbach, Sonny Simmons, Marilyn Crispell, Jon Rose, Jim Denley, Newton Armstrong, Sabir, Daniel Carter, Mike Pride, Mary Halvorson, Makigami Koichi u.a. In Australien wurde er schnell zu einer der zentralen Persönlichkeiten der Improvisierten Musik. Er ist Mitbegründer des NOWnow Festivals und der Konzertreihe "if you like improvised music, we like you". Clayton Thomas leitete das 30köpfige "The Splinter Orchestra". Seit Mai 2007 lebt er in Berlin.

Born in Aachen, Germany, 6 June 1949
Drums, percussion, musical saw, etc.
Paul Lovens played the drums as a child. Self-taught, from the age of 14 he played in groups of various jazz styles and popular musics and from 1969 has worked almost exclusively as an improvisor on individually selected instruments. He has worked internationally with most of the leading musicians in free jazz and free improvisation, among whom have included the Globe Unity Orchestra, the Berlin Contemporary Jazz Orchestra, the Schlippenbach trio, Quintet Moderne, Company, and a duo with Paul Lytton. He has undertaken concert tours in more than 40 countries, is a founder member of a musician's cooperative and has produced recordings for his own label, Po Torch Records since 1976. He has worked with painter Herbert Bardenheuer. Despite very rare solo performances, and although giving occasional concerts with ad-hoc groups and an involvement in projects with film, dance and actors, Paul Lovens' main interest and work is musical improvisation in fixed small groups. In the mid-1990s these small groups numbered around 16, of which a few were part of a special selection, called 'vermögen'.
Paul Lovens somehow epitomises the free drummer/percussionist who is not there to lay down the beat and kick everyone else into action but to listen, colour, contribute, guide, and occasionally direct, the overall cooperative sound. In concert one cannot fail to be moved by his intensity and concentration and there is an overiding feeling that even the most random events are somehow planned in time.