1995
TMM / "Podewil"
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The watchwords of this year's Total Music Meeting will be "instant composing" and 'conducted improvisation', the distinctive trademarks of their protagonist: Lawrence D. "Butch" Morris. Thus a group of approximately 15 Berlin musicians will find their improvisations controlled and finely honed, as it were, somewhere between the rubrics of 'Jazz' and 'Contemporary music'. "I expect one hundred percent concentration from every musician whilst playing in and listening to the ensemble and of course with regards to my actions. 1, on the other hand, concentrate on the possibilities of the ensemble, pass on information, which the musicians will then have to interpret, react to the collective creativity and shape the sound" - the New York artist, well known for his cornet playing and as a composer describes the Berlin '95 "conduction" titled "Skyscraper". For ten years now, Morris has been working on this method and by so doing constantly redefines the role of the composer, conductor, arranger and performing musician. Many who have witnessed the furore kindled by his concerts, that have taken place at regular three yearly intervals on the TMM since 1987, will miss him as the sensitive cornet player, who, lastly, together with J. A. Deane and Lê Quan Ninh, enchanted the Podewil in 1993. The fact that this year Morris has brought plenty of time to make the ensemble familiar with his particular requirements, gives rise to increased expectations. As the recipient of a DAAD-scholarship and living in Berlin since August, he will choose his orchestra from Berlin musicians and familiarise them with "sustain", "repeat", "memories 1, 2, 3", "rhythm A, B, C" and twelve further signs. At the same time he will introduce them to a catalogue of free choices and will make them aware of the fact, that they are the ones who define the sound by "sustain" and hold it, that it is they, who, by "rhythm", can play any note but only one rhythm, and that several rhythms can reside along side each other at the same time, and inevitably condense to form a single mass. Morris, the composer impromptu, is neither interested in energy-music nor in free- jazz, but in a "very concentrated effort of each musician, to contribute to a music that sometimes requires split second reaction time, particularly necessary when somebody is on the point of changing the direction of the music, something which is entirely possible and, what's more, even desirable." "I challenge the ensemble and the ensemble challenges me and together we challenge the audience", Morris simplifies the dynamics of the presentation. "Skyscraper Berlin" will surely be a 'sound' experiment of improvised music that might even appeal to the 'hard-boiled' guardians of the Berlin 'high art' scene. Translation: Isabel Seeberg & Paul Lytton from: Leaflet TMM 1995 |
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