theoral no. 9 – Só a violência ajuda onde a violência impera. Conversations with Osman Arabi and Alberte Pagán

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Philipp Schmickl
Vienna and Apetlon, June 2014
Introduction

Osman Arabi
Beirut, Gemmayzeh, April 3, 2014

Metal ………………… A thing for words ………………… Iron Maiden, Slayer ………………… Underground metal ………………… Tape trading ………………… Darkness ………………… Pushing things ………………… Blackness ………………… Violence ………………… First contacts with Irtijal ………………… Time ………………… Improvising and channelling energy ………………… Magic

Alberte Pagán
Porto do Son, Noia, April 13 and 15, 2013

Portraits ………………… Tanyaradzwa ………………… Images cannot represent history ………………… Travelling, politics and filming ………………… Experimental cinema ………………… Galiza and independentist movements ………………… Language ………………… A Pedra do Lobo ………………… Music, Improvisation and cinema…………… A shared intellectual heritage ………………… Narration ………………… Travelling ………………… Leaving something for posterity

98 pages

http://albertepagan.eu/cinema/filmografia/konfrontationen-2014/

http://albertepagan.eu/cinema/filmografia/a-pedra-do-lobo/

PDF Conversations with Alberte Pagán

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theoral no. 8 – Extended Version. Gespräche mit Christof Kurzmann (incl. CD)

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Philipp Schmickl,
Wien und Nickelsdorf, Februar 2014
Vorwort

Christof Kurzmann
Wien, Café Weidinger, 30. November 2011 und
Rudolfsheim-Fünfhaus, 29. September und 27. November 2012

El Inferno Musical ………………… Buenos Aires ………………… Drei Beschäftigungsstränge ………………… Workshops ………………… Ägidigasse, Rotstilzchen, Totalverweigerung ………………… Wien/Berlin ………………… Robert Wyatt, Archie Shepp ………………… Links sein ………………… Improvisation ………………… Politik ………………… Jazz ………………… Celeste ………………… Free Jazz und Nickelsdorf ………………… Arbeitsweise

Helmut Heiland und Extended Versions ………………… rhiz und charhizma ………………… Werner Dafeldecker und Burkhard Stangl ………………… Elektronische Musik ………………… Songs ………………… Buenos Aires ………………… Schönabrunn

128 Seiten

 

theoral no. 8 CD

1.) Extended Versions
Orgelhit live (WUK / Wien, 19. Mai 1996)
Helmut Heiland: bass, drum computer
CK: vocals, organ

2.) Christof Kurzmann
6 Bilder zu Bernhard Langs „Differenz & Wiederholung“ – live Bild 1, Bild 2, Bild 3, Bild 6
(Porgy & Bess / Wien, 22.03.2002) (excerpt)
CK: g3, lloopp (all samples from Bernhard Lang, Klangforum Wien “Differenz/Wiederholung 3”)

3.) My Kingdom For A Lullaby + Burkhard Stangl
live @ artscape (Artscape / Cape Town, 07.09.2005) (excerpt)
Martin Siewert: guitars, electronics
CK: lloopp
Burkhard Stangl: guitar
(Billiy Roisz & Michaela Grill: visuals)

4.) Edén Carrasco & CK
Track 2 (Studio / Santiago De Chile, 15.03.2010)
Edén Carrasco: gaita colombiana
CK: clarinet
recorded by Giuliano Ferreira

5.) Martin Brandlmayr & CK
live @ „What’s Up Vienna / What’s Up Montreal“ (La Sala Rossa / Montreal, 08.06.2010) (excerpt)
Martin Brandlmayr: drums
CK: vocals, lloopp
recorded by Steve Bates

6.) Cremaschi/Kaplan/Kurzmann
Track 7.1. – live (Planeta X / Rosario, 16.04.2011)
George Cremaschi: bass
Leonel Kaplan: trumpet
CK: vocals, lloopp

7.) Ken Vandermark & CK
Track 1 – live @ „recording session #187” (Amann Studios / Wien, 08.07.2013)
Ken Vandermark: clarinet
CK: ppooll (live processing)
recorded by Christof Amann

8.) Kommando Raumschiff Zitrone
live @ echoraum (Echoraum / Wien, 18.10.2013) (excerpt)
Kai Fagaschinski: clarinet
CK: ppooll
recorded by Johann Lapitz

9.) Irena Tomažin & CK
live @ „neposlušno“ (Španski borci / Ljubljana 16.11.2013) (excerpt)
Irena Tomažin: vocals, dictaphone
CK: clarinet, ppooll
recorded by Tomaž Grom

10.) Mats Gustafsson & CK
live @ „klingt.org gala“ (Brut im Künstlerhaus / Wien, 18.01.2014) (excerpt)
Mats Gustafsson: saxophone
CK: rubberband, ppooll
recorded by Dieter Kovacic

11.) B. Fleischmann & CK
Long, long ago (Amann Studios / Wien, 04.03.2014
Bernhard Fleischmann: electronics
CK: vocals
recorded by Christof Amann

BESTELLEN

theoral no. 7 – Tricksters Performing. Conversations with Michael Zerang

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Philipp Schmickl,
Berlin, Kreuzberg, January 2, 2013
Introduction

Michael Zerang
St. Johann in Tirol, March 10, 2012
Vienna, Café Westend, Ocotber 13, 2012 and November 7, 2012
Intuition ………………… Entering the music through Rahsaan Roland Kirk ………………… Improvising and studying ………………… Middle Eastern music and playing in belly dancing clubs ………………… Fred Anderson and the AACM ………………… Curating ………………… The Peter Brötzmann Chicago Tentet ………………… Hamid Drake ………………… Blair Thomas and puppet theatre ………………… The Middle East ………………… Performing ………………… Interaction between performers and audience ………………… Recordings in the technological revolution ………………… Fools and tricksters ………………… Sun Ra

Twelve hours of playing with the Joujouka musicians ………………… Processing (this) music ………………… Go beyond what we know ………………… Vibrations ………………… Performing arts ………………… Ecstatic music ………………… Communal experiences ………………… Chicago ………………… Europe ………………… Arts and life in the United States

74 pages

ORDER

theoral no. 6 – Pannonia Tales. Gespräche mit Franz Hautzinger und Hans Falb

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Philipp Schmickl
Nickelsdorf und Wien, August 2012
Vorwort

Franz Hautzinger
Wien, 29. März 2012
Gomberg ………………… ein kleines, schlankes Leben ………………… Universität/Pädagogik………………… Jazzgalerie Nickelsdorf …………………Jugend im nördlichen Burgenland ………………… Graz ………………… Wasser ………………… Experimente ………………… Kunst braucht Zeit ………………… Neues Leben nach der Uni ………………… etwas Soziales ………………… Beyrouth ………………… Mitspieler ………………… Live spielen ………………… Üben

Hans Falb
Nickelsdorf, 16. März 2010 und Wien, 9. Jänner 2012
Geschichte(n) ………………… Musik und Gesellschaft ………………… 70er Jahre: Reisen im Mittelmeerraum ………………… Montreux ………………… Übernahme des Lokals ………………… Erstes Konzert und Namensgebung ………………… Walter Richard Langer ………………… Erste internationale Konzerte ………………… Marion Brown, Wallace McMillan…………… Sans Soleil ………………… Clifford Thornton, Westafrika und ‘Gardens of Harlem’ ………………… Westafrika 1984 ………………… Julius Hemphill ………………… Festival(s)

82 Seiten

BESTELLEN

theoral no. 5 – Conversations with Jim Denley and Mazen Kerbaj

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Philipp Schmickl
Nickelsdorf, June 10, 2012
Introduction

Jim Denley
Beyrouth, Mar Mikhael, April 7, 2012
Audience, self-perception and consciousness ………………… Derek Bailey ………………… Records – from Avantgarde to Mingus ………………… Jon Rose and The Relative Band ………………… Between Great Britain and Australia ………………… Music is about space ………………… Bringing back meaning to the Australian landscape ………………… Aboriginal people and music ………………… Playing outdoors ………………… Songlines ………………… The city ………………… Recording instead of writing down music ………………… Phrasing and electronic music ………………… Decisions ………………… Leaving the commercial music ………………… Flute music ………………… Shakuhachi ………………… Don Cherry

Mazen Kerbaj
Beyrouth, Gemmayzeh, April 14, 2012
Ideas in comics and music ………………… Three languages ………………… Influence of French language and culture ………………… Gainsbourg, Brassens, Ferré and literature ………………… Sharif Sehnaoui and anglophon culture ………………… European Free Jazz ………………… Beginnings and first concert ………………… Development of a scene in Beyrouth ………………… Raed Yassin and Charbel Haber ………………… Waltz with Bashir ………………… Civil war ………………… Beyrouth 2006 ………………… Not a Lebanese artist

96 pages

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PDF Conversation with Jim Denley

PDF Conversation with Mazen Kerbaj

theoral no. 4 – Conversations with Nicole Brooks and Clayton Thomas

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SOLD OUT

Table of Contents

Philipp Schmickl, Vienna, january 26, 2012
Introduction

Nicole Brooks
Nickelsdorf, Kleylehof, july 23, 2011
Rereading the diary………………… Change ………………… Philadelphia, New Mexico, Atlanta ………………… Quitting the job ………………… Second time in Brazil ………………… First time in Brazil ………………… Europe and racism ………………… Let’s see what happens ………………… Being clear ………………… Philosophy of one way tickets ………………… Internal home ………………… Concern ………………… Go and experience!

Clayton Thomas
Sibiu, october 17, 2011
Tasmania, Sydney and the singers ………………… Electric bass, records ………………… New York ………………… Double bass ………………… First gigs in Sydney ………………… Getting to know the scene and starting a festival ………………… Playing in New York ………………… The NOW now ………………… Quit advertising and then do what? ………………… Berlin ………………… Jazz ………………… The Ames Room ………………… Travelling ………………… Vibration ………………… Revolution ………………… Independent thinking

78 pages

theoral no. 3 – Gespräche mit Paul Lovens

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VERGRIFFEN

Inhalt

Philipp Schmickl
Wien, 9. November 2011
Vorrede

Paul Lovens
Nickelsdorf, 17. März 2010
Auszüge

Paul Lovens I
Nickelsdorf, 15. August 2011
Interviews ………………… Genua, Nickelsdorf, Aachen ………………… die Ordung in der Aachener Wohnung ………………… zu Hause und auf Tour ………………… Nickelsdorf und die Jazzgalerie ………………… Denken im Alltag ………………… Haken schlagen ………………… Geld ………………… Stockholm ………………… Kollegialität und Freundschaft ………………… Peter Kowald ………………… Verstorbene ………………… Träume ………………… USA mit Eugene Chadbourne und Cecil Taylor ………………… Buddy Guy

Paul Lovens II
Nickelsdorf, 23. September 2011
Buschi Niebergall, Peter Kowald, Maarten van Regteren Altena ………………… andere Einflüsse ………………… Musik hören und Musik spielen ………………… Globe Unity Orchestra ………………… Kino ………………… Tiere ………………… Potenzial

74 Seiten

 

pdf theoralno3lovenshp

 

about english

It is our aim to create a collection of oral history of the creative music scene (improvised, experimental, new music, jazz, &c.) which is at the same time – following Gilles Deleuze’ and Félix Guattari’s notion of the rhizome – permeable and open to all sides. We do not appear as authors, we act as a medium, as translators and filters. The artists tell their story themselves, because: “Who else … would be better suited to speak about this product than the instrument through which it appears? Surely, if such highly creative music can come from such minds, the same minds can give some insight about it and themselves in relationship” (Henry Threadgill in: George Lewis 2009). Our task is the editing of the text and the graphic interpretations.

The creative music scene does not exist independently from other dimensions of reality and is constantly interacting with them. Therefore we do not limit ourselves to write merely a music history but also a present and a possible future that is not isolated from outside influences. The realities and constraints in the life of our interlocutors and their impact on their art, plays a vital role in our conversations. Art is always seen in relation to the social and the political. The private and the public are intertwined. This places these “philosophical biographies” in a historical-political-social context.

It is our aim to create collection of oral history of the creative music scene (improvised, experimental, new music, jazz, &c. music) which is at the same time – following Gilles Deleuze’ and Félix Guattari’s notion of the rhizome – open to all sides. We do not appear as authors, we act as a medium, as translators and filters. The artists tell their story themselves, because : “Who else … would be better suited to speak about this product than the the instrument through which it appears? Surely, if such highly creative music can come from such minds, the same minds can give some insight about it and themselves in relationship” (Henry Threadgill). Our task then is the editing of the text and the graphic interpretations.

The creative music scene does not exist independently from other dimensions of reality and is constantly interacting with them. Therefore we do not limit ourselves to write a music history isolated from outside influences. The realities and constraints in the life of our interlocuteurs and their impact on their art, plays a vital role in our conversations. Art is always seen in relation to the social and the political. The private and the public are intertwined. This places these “philosophical biographies” in a historical-political-social context.

Arising from this claim, it is not only musicians who contribute to the collection of oral history for THEORAL, but also artists from other disciplines, scientists and people who make an art or a science out of their life.

The hi/stories are recorded, if possible, in the native language of the narrators. This entails issues in different languages. Our collection has no geographical borders. We want to assemble hi/stories of creative musicians and interesting people from all over the world and in turn, approach whole world with our books. “We realized that we had to do our thing with a planetary approach. We had to hit the world market. We couldn’t localize … The only way for us to survive was to develop a world audience” (Lester Bowie).

THEORAL is a Rediscovery of Slowness – we give priority to longer monologues rather than to short winded statements. The narrations and thoughts of the speakers are opened and interpreted through the illustrations.

Due to the missing of documentary images (like photos) new freedoms arise in the visualizing of the manual interpretation (graphics) – with commitment to the details – of the written language.

The pictures are an offer to develop the contents – the interview-situations and the narrations – in a certain atmosphere and style. They should and want to give space to own imaginations and associations. Perhaps the illustrations can seduce the reader to open up towards unknown, uncomfortable and unusual areas, which he wouldn’t have entered otherwise.

 

citations: George E. Lewis (2009): A Power Stronger than Itself. The AACM and American Experimental Music. Chicago University Press