Concert with Irena Tomažin

Irena Tomažin & Christof Kurzmann

18.05.2013 - 20:00 - Amann Studios / Wien

Irena Tomažin: voice, tools
Christof Kurzmann: ppooll

Irena Tomažin

Irena Tomažin is a dancer, performer and singer as well as being a postgraduate philosophy student at University of Ljubljana. Mostly working in dance and theater performances she collaborated with many different choreographers, directors and sound artist, performing in Slovenia as well as abroad in Europe and in Japan. In her own work she works mainly with voice and movement what resulted in performances: “Hitchcock’s metamorphosis”, “Caprice”, “Caprice (re)lapsed”, “as a drop of rain into the mouth of silence”, “out of discord” with Josephine Evrard, and in 2012 “taste of silence always resonates”. With her solo project named “iT” for voice and dictaphones she works on her own experimental voice materials and made a CD “Crying games”. Otherwise she was collaborating also with BastKolektiv / Aldo Ivančič (ex Borghesia), Tomaž Grom, N’toko, Seijiro Murayama, Liz Allbee... At the moment she’s performing also in a duet with saxophone and electronics Slovene improviser Marko Karlovčec with whom she released a cd ‘That Which Happens Is Itself Dripping Red’; and in a duet “nnit” with piano improviser Neža Naglič. As iT she has performed in Vienna, Berlin, Bratislava, Mostar, Belgrade (DisPatch), Novi Sad, Budapest (UltraHang), Krakow, Densites-France, Sarajevo, Kassel …

out now: Made To Break: Lacerba

out now!

Made To Break - Ken Vandermark, Christof Kurzmann, Devin Hoff, Tim Daisy ‎– Lacerba

Label:

Clean Feed ‎– CF274LP

Format:

Vinyl, LP, Album

Country:

Portugal

Released:

2013

A		Vita Futurista (For Dick Raaijmakers)	22:06
B		Pursuit (For Alberto Giacometti)	18:55

• Recorded At – Teatro do Bairro
• Mixed At – Chicago Mastering Service
• Mastered At – Chicago Mastering Service

• Bass – Devin Hoff
• Design, Artwork By – Federico Peñalva
• Drums – Tim Daisy
• Electronics [lloopp] – Christof Kurzmann
• Engineer – Joao Serigado*
• Executive-Producer – Trem Azul
• Liner Notes – Ken Vandermark
• Mastered By – Bob Weston*
• Mixed By – Christof Kurzmann, Ken Vandermark, Bob Weston*
• Reeds, Composed By – Ken Vandermark

Recorded in concert at TBC, Lisbon, on November 18th, 2011 Mixed at Chicago Mastering Service. Mastered at CMS.

http://www.discogs.com/Made-To-Break-Ken-Vandermark-Christof-Kurzmann-Devin-Hoff-Tim-Daisy-Lacerba/release/4511779

out now! Edén Carrasco, Leonel Kaplan & Christof Kurzmann: Casa Corp

out now:

Leonel Kaplan & Christof Kurzmann & Edén Carrasco ‎– Casa Corp

Label:

Dromos Records ‎– Dromos009

Format:

CD, Album, Limited Edition

Country:

Portugal

Released:

2012

1

Casa Corp

33:00

• Alto Saxophone – Edén Carrasco
• Artwork – Thuy-Van Vu
• Computer [ppooll], Voice – Christof Kurzmann
• Trumpet, Recorded By – Leonel Kaplan

Recorded December 16th, 2011 at Casa Corp, Buenos Aires.
CasaCorp comes in a limited edition of 200 copies. The artwork is unique for each copy.

http://dromosrecords.com/full_news.php?id=15

out now: Made To Break: Provoke

out now!

Made To Break -  Provoke

Label:

Clean Feed ‎– CF273CD

Format:

CD, Album

Country:

Portugal

Released:

2013

1		Further (For John Cage)	23:35
2		Presentation (For Buckminster Fuller)	20:07
3		Of The Facts (For Marshall McLuhan)	19:13

• Recorded At – Teatro do Bairro
• Mixed At – Chicago Mastering Service
• Mastered At – Chicago Mastering Service

• Bass – Devin Hoff
• Cover, Photography By – Federico Peñalva
• Drums – Tim Daisy
• Electronics [lloopp] – Christof Kurzmann
• Engineer – Joao Serigado
• Executive-Producer – Trem Azul
• Liner Notes – Ken Vandermark
• Mastered By – Bob Weston
• Mixed By – Christof Kurzmann, Ken Vandermark, Bob Weston
• Photography By [Collage] – César Merino Masnou
• Reeds, Composed By – Ken Vandermark

Recorded in concert at TBC, Lisbon, on November 17th and 19th, 2011 Mixed at Chicago Mastering Service. Mastered at CMS.
Digipak packaging.

http://jesus-desdemicadiera.blogspot.com.es/2013/03/made-to-break.html

Tour: Made To Break

MADE TO BREAK ( Ken Vandermark, Timothy Daisy, Devin Hoff & Christof Kurzmann)

Fri March 1st: Narodni Dom Maribor, Maribor (Slovenia)
Sat March 2nd: Blue Tomato, Vienna (Austria)
Sun March 3rd: Cantina Cenci, Tarzo (Italy)
Mon March 4th: Kulturverein Waschaecht, Wels (Austria)
Tue March 5th: Sala Nasti, Madrid (Spain)
Wed March 6th: Jimmy Glass, València (Spain)
Thurs March 7th: Café Antzokia, Bilbao (Spain)

http://www.youtube.com/watch?v=zBzT_JKbj7I

Tour: Brandlmayr/Kurzmann/Vandermark

CHRISTOF KURZMANN, vocals, electronics. KEN VANDERMARK, reeds. MARTIN BRANDLMAYR, drums, percussion.

17.2.13 Belgium/Brugge @ Parazzar
18.2.13 Spain/Barcelona @ Atelier de l'opera
20.2.13 Netherland/Amsterdam @ OCCII
22.2.13 Austria/Gallneukirchen
24.2.13 Poland/Poznan KlubTeatar Dragon


http://www.youtube.com/watch?v=JGX-b-GioIs
http://www.youtube.com/watch?v=KzxB-cSuHdQ

one more concert in buenos aires

charhizma & No Subject present: 

concierto en casa México

Thursday, 31. January 2013
21:00

Casa México

: barzabal

Leandro Barzabal, pibe solo

:: fiesta de 15

Omar Grandoso, trombón / accesorios
Sam Nacht, saxo tenor / fx
Flor Curci, batarra eléctrica
Roberto Etcheverry, laptop

::: rave · espinal · kurzmann

Ada Rave: saxo tenor y soprano
Jorge Espinal, guitarra eléctrica
Christof Kurzmann, ppooll

Dirección por inbox.

$15

4 concerts in buenos aires

12.01.13 Trio with Martina Greiner and Federico Colo Vernazza Callero
 Le Troquet De Henry, Guardia Vieja 3460, Buenos Aires - 20:00

Martina Greiner: cello
Federico Colo Vernazza Callero: keyobords, percussion
Christof Kurzmann: ppooll, b-cl, ...

19.01.13 Duo with Eliana Rosales
Palacio Beltran, Buenos Aires - 21:30

Eliana Rosales: cello
Christof Kurzmann: ppooll, ...

+ Ricarda Cometa

26.01.13 Quartet with Fabiana Galante, Lulo Vitale and Leonel Kaplan
Estudio Libres, Buenos Aires

Fabiana Galante: piano
Lulo Vitale: bass
Leonel Kaplan: trumpet
Christof Kurzmann: ppooll, ...

+ Fernando Perales Solo

02.02.13 Duo with Leonel Kaplan
en un buen lugar conocido en tiempos pasados

Leonel Kaplan: trumpet
Christof Kurzmann: ppooll, ...

+
Samuel Sahlieh: electronics

The Cherry Thing (Remixes)

neneh cherry & the thing - The Cherry Thing (Remixes)

Four Tet, Merzbow, Jim O'Rourke, Kim Hiorthoy, Lindstrøm & Prins Thomas, Nymph, Lasse Marhaug and more contribute remixes of Neneh Cherry & The Thing's (Mats Gustaffson, Paal Nilssen-Love and Ingebrigt Håker Flaten) acclaimed covers LP 'The Cherry Thing'. Pushed to pick highlights, we'd point out Four Tet's cool interpolation of their Suicide version 'Dream Baby Dream'; a mysterious revision of Madvillain's 'Accordion' by Jim O'Rourke; the hyperjazz tension of Merzbow's mix to their re-do of Mats Gustaffson's 'Sudden Moment'; a brooding, honking take of their cover of The Stooges' 'Dirt' by Christof Kurzmann; the seething, barely repressed cosmic violence of Lasse Marhaug's Poole Blount Dub for their take on Don Cherry's 'Golden Heart'.

http://songs.to/#!pl=da618cb7311f30aac3e5f13a67ad9f510da37a9a

el infierno musical review / fertile listening

Though I've only recently come across Christof Kurzmann's work, it stretches back to that early 90s post rock era. What do you say about someone who's projects have involved deconstructed re-workings of Robert Wyatt songs, electronica, long-form improvised pop music and musique concrète-inspired ambience? One recent work sees a clipped clarinet duet over programmed beats while someone sings dryly about their discovery / admiration of Eric Dolphy.

His latest, El Infierno Musical, brings together an international set of artists from wide-ranging traditions to record a suite of songs with lyrics translated from a mid-20th Century Argentinian poet born to Russian Jewish immigrant parents. Confused yet? The album uses sound itself as an invisible glue between genres and techniques. The resonant scrape of a bow across a double bass merges in the space of your room with the clattering buzz droning from a laptop. The songs are sung with a sense of pop but shadowed closely by clarinet. I listened to the Infierno, both marvelling at it and wondering what exactly I was hearing.

Perhaps it's inevitable: we've only been recording music for a little over a century and we only very recently have access to so much of it so readily. I distinctly remember hearing an NPR report on how the Nonesuch label's introduction of field-and-world music recordings hit the Western music world with such shock in the late-60s / early-70s. By the 90s, it all still felt new; the tools and technologies (like samplers) were even newer. It could be that we are experiencing the first waves of musicians that are truly comfortable with both what the entire world of music has to offer as well as the tools with which we currently have to manipulate it.

Posted by ams  

http://fertilelistening.blogspot.com.ar/2012_11_01_archive.html