Announcement
- ...bringing Creative Music to China
My blog
-
Creative Music in China
Wednesday, Sep 10, 2008 7:44AM / Standard Entry
Creative Music in China: a few words of explanation. By Peter Scherr
Creative Music is a handy phrase that I use to describe the musical projects that I am working on. It is general enough to encompass a wide variety of styles, yet emphasizes creativity, and the mind-set of an artistic endeavor. Within this broad category, I do have some specific interests, which will usually be present.
I prefer to avoid direct stylistic descrīptions like “Rock”, or “Jazz” or “Folk” because first of all, they do not accurately describe what I am trying to do, and secondly, because they can lead to restrictive expectations on the part of the audience. Yes, my music may contain elements from these music’s, but there is always an exploration of some area that is relatively unfamiliar to me. That is the reason for all of my projects. I want to find out more about something that is exciting and interesting to me –something that I may not understand at all, or may not fully understand.
I love exploring rhythm, so there is always a strong rhythmic element. I often build each project around a unique rhythm section, which gives a strong character right from the beginning. This generally is taken care of by the choice of drummer, since I play bass, which is a rhythm section instrument. But in the case of Zhu Fang Qiong, it is his rhythmic concept as a singer, player of stringed instruments, and percussion.
Another great example of this would be the selection of the drummer Jim Black for my band “Headache,” or Simon Barker for “Jazz Folk”. Both of these musicians have something absolutely unique, and when I first heard them, I was at once attracted and extremely excited by what they were doing, and also I had absolutely no idea how what they were doing worked. I had the sense that once I played with Jim, once I spent some time playing with Simon, certain things would become somewhat clearer to me. It’s not something that I can explain very well, but I really feel that it is true. It is an experiential thing.
With Jim, it is a certain kind of forward motion, and a feeling that no matter what you play, if you play it with conviction (not necessarily loud, but you have to “mean it”), it will sound good. He gives musicians an infinite number of “points of entry” when he plays. You can come in anywhere, and it will work… plus his concept of sound is so unique.
With Simon, just watching him play is very interesting. He sits at the drums in a unique way, approaches the kit with a very unusual posture. Once I got to know Simon a little bit, I started hearing about his interest in Korean Shamanistic music, and how he had spent a good part of the last 15 years going to Korea and seeking out Shaman musicians and trying to absorb their culture. Now, 15 years is a long time, and everything that Simon plays has a little bit of this Korean Shamanistic music in it. But he is a western musician, plays western drum kit, and it is not a simple pastiche of Korean musical tropes. It is a very deep integration.
Also in each project, there is a musical focus. I will either want to present someone’s musical ideas, like in the case of Joe Rosenberg, or Zhu FangQiong. In other projects, I will write the music myself. In Jazz Folk, we share the writing duties (and actually primarily play the music of established songwriters), and I am trying to organize another band with musicians from Southern China right now, where the writing of the music is shared.
Again, the choice is almost always something that interests me -that I don’t fully understand. Joe Rosenberg’s music is a perfect example. He always surprises me with the compositions that he brings. Initially, his music seemed to be steeped in an Anthony Braxton influence, and there were some references to contemporary Western Art Music practices. But more recently, each piece seems to be a set of strategies that is perfectly tailored to the unique skills and limitations of the musicians in the band. Also, he is always thinking about Indian musical culture, and Indonesian musical culture. Again, these aspects are never presented directly.
So I have several of these projects, and the problem that always comes up is how to build an audience for music that is so diverse. I like to focus on the fact that these are lively performances, and there is a lot of color, with such strong personalities in the bands. It is not necessary to have a technical understanding of the music, when you have a maniac like Edward Perraud at the drums. He is really as much a sorcerer and a magician as he is a drummer. If you watch him, you will definitely get a good show.
Another important aspect is the choice of venue and city. My music is best heard in places other than clubs or bars. I have had some success playing in club situations, of course, but when you get into a small theatre, or art gallery, the atmosphere is more conducive to an exploratory listening and viewing experience. People are ready to hear something for the first time. A notable exception to this would be some of the music houses in Beijing, where it seems to be fine to play just about any style of music. But for sure, it is best to try and avoid the “Jazz Club” syndrome. My music is almost always a little frustrating to a typical Jazz audience.
Which brings me naturally to the next question, which is: why China? Why do Creative Music in China? Well first of all, because I live here, and I am determined to pursue my creativity in music, and crucially, because many audiences in China are uniquely prepared to hear something new. The most exciting performances I have ever had have been in China. As opposed to Hong Kong, where it is very difficult (but not impossible) to get audiences excited about Creative Music. In the mainland, it seems that people are hungry for it. And among the young, educated and artistically inclined, there is an uncanny sophistication and familiarity with the cutting edge, particularly in some cities that I have experienced like Guangzhou, ChongQing and Beijing. There are still so many places to explore. I hope that I get a chance to play in Shangxi, and Yunnan, and the city of Dalian. I heard an incredible band from Dalian a few weeks ago. Wang Wen.
Bringing projects to China from overseas is a financial challenge, to say the least, so I am changing my focus a little bit. It’s a great opportunity to make a serious effort to find out about the incredible talent and different musical cultures within China. I’ll be doing some traveling in China over the next years to try and meet musicians that might be interested in collaboration. That will be something for me to ponder, delight in and misconstrue for years to come.
http://www.youtube.com/peterscherr
中国的创意音乐：言简意赅 作者：Peter Scherr
我常将手头的音乐项目称为创意音乐，这种说法简单明了，内涵丰富。创作一般涵盖多种音乐风格，突出创意及艺术创作的理念。在风格多样的音乐门类中，我有自己特别的兴趣所在，常在音乐作品中予以表现。
我尽量避免用“摇滚”、“爵士”或“民谣”等较为直接的字眼说明风格，原因在于，首先，这些字眼不能准确说明我目前的创作，其次，这些字眼会局限观众的预期。我的音乐包含各种音乐风格的元素，但其中也包括对我较为陌生的音乐风格的探索。这是我进行音乐创作的原因。我希望了解更多能令我倍感兴奋且兴趣十足的音乐－可能是我根本无法理解，或无法完全理解的音乐。
我热衷于尝试各种节奏，作品中常有鲜明的节奏元素。我常以特定节奏为基础进行创作，使作品一开始便具有突出的特点。由于我是贝斯手，一般由选择鼓手决定作品的节奏。而朱芳琼则通过演唱、弹奏弦乐器和打击乐器表现自己的节奏理念。
另一个很典型的实例是，选择Jim Black担任乐队“Headache”的鼓手，或Simon Barker担任“Jazz Folk”的鼓手。这两位乐手都有自己与众不同的特色，第一次听他们演奏时，我立即被深深吸引，对他们的演奏风格倍感兴奋，我根本想不到他们是怎样实现这种演奏方式的。我强烈感觉到，只要有机会与Jim和Simon共同演奏，我一定会找到自己的创作方向。这种感觉我很难说清楚，但确实存在。这完全是凭经验作出的判断。
Jim充满激情，让我感到，无论他演奏什么音乐，只要全情投入（音量不必很大，但一定要投入），都十分悦耳。他演奏时，为其他乐手创造了丰富的“切入点”。你可随时插入演奏，效果都十分出色……他的乐感独具特色。
至于Simon，单是观赏他演奏已经趣味十足。他用独特的方式坐在鼓旁，用非比寻常的姿态击鼓。与Simon结识一段时间后，我了解到他对韩国萨满教音乐的兴趣，他曾在韩国生活15年，拜访萨满音乐家，努力学习萨满文化。15年是漫长的时间，现在，Simon的所有演奏都多少带有韩国萨满音乐的元素。但他是西方乐手，演奏西式架子鼓，并非单纯模范韩国音乐。他将东西方音乐特点深度融合。
我的各项创作均以音乐为核心。我希望表现他人的音乐理念，如Joe Rosenberg或朱芳琼。在其它音乐项目中，我会自己作曲。在Jazz Folk乐队，我们共同创作，目前，我正努力将来自中国南方的乐手组成乐队，共同创作音乐。
我始终对选择兴趣浓厚－我自己也搞不清楚其中的原因。Joe Rosenberg的音乐是很好的例子。他的作曲常令我喜出望外。一开始，他的音乐深受Anthony Braxton的影响，有些创作参考当代西方艺术音乐风格。但他近期的作品自成体系，与乐队乐手的独特技巧和个人极限完美契合。他对印度音乐文化和印尼音乐文化兴趣浓厚。但这些特点从未在音乐创作中直接表现。
我的工作包括多项此类音乐项目，问题总是集中于如何为这种多元化音乐风格赢得观众。我着力突出乐队生动的表演形式，色彩斑斓，每个乐手都有鲜明的特点。乐队中有Edward Perraud这样的癫狂乐手击鼓，对音乐的技术理解已经不再重要。他的表演仿佛将足球运动员、魔术师和鼓手的角色融为一体。只要观看他表演，你定会赞叹不已。
演出场地和城市的选择是另一重要方面。在夜总会或酒吧以外的地点演出，我的音乐效果更佳。当然，在夜总会也曾成功演出，但如果在小剧场或画廊观看，现场氛围更有助于观众获得美好的视听体验。很多观众都期望听到前所未有的音乐。部分北京音乐厅对此类演出的期望较高，那里的演出场地适合演奏各种风格的音乐。但勿庸置疑的是，最好努力避免出现“爵士乐夜总会”综合症。对于典型的爵士乐观众而言，我的音乐会令他们感到失望。
这自然引出下一个问题，即：为何选择中国？为何在中国表演创意音乐？原因在于，首先，我生活在中国，我决心追逐我的音乐创意梦想，更为重要的是，大量中国观众对新音乐形式情有独衷。所有演出中，最令我兴奋的演出就是在中国举行的。这与香港截然不同，香港观众很难（但并非不可能）对创意音乐产生热情。在中国大陆，观众对创意音乐的喜爱则如饥似渴。这些年轻、受过良好教育且喜爱艺术的观众对前卫艺术形式兴趣浓厚且了解丰富，我曾去过的广州、重庆和北京等城市尤其如此。还有更多的城市等待我们了解。我希望能有机会在陕西、云南和大连演出。几周前，我曾听到大连惘闻乐队的音乐，令人赞叹。
将音乐项目由海外发展至中国还存在经济方面的挑战，因此，我略微改变了自己工作重点。这是一次很好的机会，有助于我们深入了解中国的非凡人才和与众不同的音乐文化。将来我会常到中国旅行，与有兴趣合作的音乐人会面。这将是我在来年思考、享受和感悟的主要内容。
http://www.youtube.com/peterscherr
-
roaring into spring
Thursday, Apr 17, 2008 8:13PM / Standard Entry
What can I say? I've been negligent. I've been absent. I've been, well, working out the kinks... Actually I've been working IN the kinks for the last hour or so. Going on a serious explorationi of this band. They only had a few stateside hits, and on watching the movie The Darjeeling Limited, I was just blown away by the quality of these songs that I had never heard: The Stranger, Powerman, etc. So I picked up about 15 records, and I'm getting it on... ...On paper, or rather by the appearance of my calendar in my computer, this might seem like a quiet time. My last major project was in Feb, and the next one is at the end of next month, but I've been very busy. Simplifiying my business, and reverting back to one man band status as an organization has been an incredibly important and positive move. I've started doing my own legwork, and the results are ...empowering. I am sure that my artists will appreciate the new lean and mean organization. ...got some great new contacts in China, and I will be performing in some new territories over the next six months. Finally finding some good contacts in Chengdu, and also other cities. ...In late May, I will be bringing The Hysterical Society to China, but not to Hong Kong. Just couldn't work out the dates. The Hysterical Society are a hard hitting rock-jazz improvising group comprised of some of New York’s finest players, along with top musicians from Sydney and Hong Kong. The group’s melodic focus is Michael Blake. Known to the cognoscenti as a unique and compelling voice in today’s creative music, Blake is perhaps best known as the tenor saxophonist of the Lounge Lizards. In this context, his soaring melodic sense will showcase against the incredible powerhouse rhythm section of Michael Sarin (Dave Douglas) and Peter Scherr (Creative Music in China director). On guitar, Carl Dewhurst, one of Australia’s finest guitarists, will at once color and propel this very strange meeting. Charts are to be provided my Mssrs Blake and Scherr, who have an ear for the new, the exciting, and the unforgettable. The first half of July is reserved for Jazz Folk. We will be at Backstage Live on Saturday July 12. Thanks to Vicky for working out the deal. Here's the Jazz Folk blurb: In 2005, Matt McMahon and Simon Barker flew to Hong Kong to collaborate again with Peter Scherr. This project proved to be a departure from the group’s previous avant-garde explorations. The trio explored music of compelling simplicity: great songs that had not yet found their way into the jazz catalogue. Songs by artists such as Joni Mitchell, The Beatles and Nick Drake were read alongside original compositions. It was clear from the first rehearsals that something special was going on. The trio applied concepts of freedom and intensity to this material with stunning results. Audiences were captivated by this new sound and energy. The trio went into the recording studio, and in one trance-like session, captured an album of potent intimacy: Jazz Folk. Later in July it is The Jackson Harrison Trio. Jackson is one of the finest of a new generation of Australian post-jazz creative musicians. We will be at Backstage Live on Saturday August 2. Read the blurb here: People are talking about Jackson Harrison now. For good reason: he is an exceptionally talented, strikingly original pianist. He is young, but wise beyond his years. He has chosen well for his music. It is at times delicate, furious, elusive in classification. Sophisticated. Informed by the best of the past, yet completely new. This summer, Jackson will bring his trio to China. He has sought out kindred spirits for his music. Jochen Rueckert on drums. Peter Scherr on bass. To flesh out his ethereal compositions. In the spirit of now. In the spirit of communication. The Jackson Harrison trio. That's about all I have time for at the moment. I'll be back hopefully in the not too distant future with some more entertaining musings...
-
Ted Lo trio at the City Festival/Learning As We Go
Saturday, Jan 12, 2008 11:10AM / Standard Entry
Well I really learned something yesterday. It all started when the sound engineer asked me to turn down a notch from where I was the previous night. I hadn't turned up or changed anything since rehearsal. But I guess I play harder when the show starts. Dig in more, etc. Anyway, folks in the audience were commenting that there was too much bass, and since I wasn't in the house system, there was nothing that the engineer could do. Well tonight while I was warming up, I by chance moved right in front of my speaker, which is elevated considerably higher than normal. This is important too. The center of the cabinet was about ear height. Standing there, I could suddenly hear myself in a lot more detail. The bass was not feeding back, because the amp was somewhat lower volume than where I usually keep it. Also, this new position gave me better sight lines with Ted Lo and drummer Nick McBride. What I found during the show was that I could move further away from the speaker, but that so long as I was directly in the line of fire of the cabinet, the effect remained. So: This new way is good. I can hear the initial parts of the notes much more clearly, which is good for pitch, timing, knowing how hard to play etc. And the bass doesn't feed back. I think this is the new way. I almost hate to admit it, but I think my concentration last night was as good or better than in the Headache shows. I felt so relaxed and had so much space for myself in the music. Not that I always used it well. My solo on How Deep is Your Love was clearly Tomato Worthy :) Well clearly I learned something very important. I'll hang on to it. One more chance to play with these great musicians tonight at 7:45 pm at the Fringe... please come! Hey, please come see Joe Rosenberg's band next week. See my Forum and Event blog below. That'll be the last chance for Creative Music in China programs until late March. I'm going to Indonesia to do some concerts next week, and going to NY in Feb to visit family, record with family, record with friends, meet new potential partners in Creative Music etc.
-
Joe Rosenberg Quartet: Black Saint artist comes to Hong Kong
Friday, Jan 4, 2008 4:56PM / Event
The Joe Rosenberg Quartet-Black Saint artist Joe Rosenberg comes to Hong Kong $150 admission Thursday Jan. 17 and Friday Jan 18, 2008 9:30 pm start Le Rideau 1/F Hilltop Plaza 49 Hollywood Rd Central 2850 8833 The Joe Rosenberg Quartet: featuring Edward Perraud Joe Rosenberg has lead many quartets, but this group may well prove definitive. For the first time, Joe’s piano-based quartet will feature the electrifying drumming of Parisian Edward Perraud. With Joe’s distinctive lines and innovative compositions serving as a point of departure, and mercurial pianist Masako Hamamura sparring with bassist Peter Scherr, sparks are sure to fly! Don’t miss the premier 2008 offering of Creative Music in China… Strongly written themes which seem to encapsulate much of what has gone on in jazz post-Parker…Tense, urgent and always immediate… a very distinctive approach to soloing” -Cook and Morton from the Penguin Guide to Jazz Edward Perreaud (Paris) is a percussionist with a formidable resume. He works constantly throughout Europe with the finest, most creative improvisers in the music. Under his touch, the drum set becomes a rich orchestra of fascinating variety and energy. Most recently, he has been performing with trombonist Yves Robert, bass clarinettist Sylvain Kassap, cellist Didier Petit, bassist Hélène Labarrière, the duo Calx with alto saxophonist Jean-Luc Guionnet, and the improvisational group Hubbub. Paul Lovens, one of the original masters of free drumming, gave his drumsticks to Perreaud after Perreaud’s performance in a symbolic passing of the torch. Joe Rosenberg is an American soprano saxophonist at the height of his creative powers as a player and composer. He has recorded and performed with some of the world’s finest avant-garde and jazz musicians and continues to explore the musical unknown in his writing and playing. A part time resident of Paris, he has performed and recorded with Edward Perreaud with stunning results. He has recorded for many labels that support creative music, most recently the prestigious Black Saint label. Please see: http://www.joerosenberg.net/ Born in Kobe Japan in 1970, Masako Hamamura started classical piano lessons when she was six years old. She studied jazz piano in the Koyo Conservatory in Kobe, and after that Masako studied Jazz Composition at Berklee College of Music with Herb Pomeroy. She was active in the Boston Jazz scene as a soloist and also leading her own jazz orchestra. She received the Toshiko Akiyoshi Award in 1994 and the Quincy Jones award and Piano Department Chair Award in 1996 from Berklee College. After moving back to Japan, she has been active playing all around Japan leading her own trio and participating in projects in Europe and Asia. Notable projects include recordings with Joe Rosenberg, Mark Helias and Tom Rainey. Peter Scherr is an American double bassist/composer living in Hong Kong. He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and avant-garde music performance and composition. He has performed and recorded with leading creative musicians such as his brother Tony Scherr, drummers Kenny Wollesson, Jim Black and Anton Fier, Bruce Huron, John Carlson, Matt McMahon and Simon Barker among many others. Mr. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts. One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world. Please see http://www.peterscherr.com
-
Headache comes around
Friday, Dec 14, 2007 9:47AM / Standard Entry / Crazy musician outside the mainstream
Well let's see... this was all so clear to me last night when I was driving to the airport to pick up my brother. I knew that I wanted to write something. It's been a long time, and a lot of important stuff is happening. I've been so busy trying to get ready for this Headache project. I feel like I'm ready for a second career as a travel agent/composer. I spent the last week with the phone pressed against my ear, arranging flights, hotels and schedules, van pickups and departure times, alternating with my chicken scratch against manuscrīpt paper. Originally I was resigned to not writing any new music for this project, so busy and so forth, but I saw this kid with a rubiks cube on the train. He was doing the thing extremely rapidly, basically without looking at it. He completed, and I bullshit you not, completed the cube like 4 times in 2 mtr stops. very impressive. All with this completely absent, disinterested look on his glazed eyes. I wondered at first if he makes his living with that thing. The hilarious part was that I was totally amazed at this kid's speed, but no one else on the train even looked at him. not a once. I guess I don't ride the train enough. Anyway it gave me an idea for a kind of degrading counterpoint. A counterpoint that degrades the material over time. You know, how things fit together. Pretty obvious really. But when I got home I started working with these two melodic ideas, seeing if they could fit together. It kind of worked on paper and in the computer, but today is the big day when I get to try it with the musicians. Then I'll know for sure. I did a second "rubics" which I think has the potential to be much more beautiful, also must wait to play to know for sure. And my brother promised me that he brought a song that is the "downtown version of Blueberry Hill". Fast forward to a medium shot of an eskimo, standing victoriously on top of a supersized walrus. Cue piano triplets. Singing: "I got my thrill,,, ,,,, ,,,, ,,,, on Blubbery hill,,, ,,, ,,,, ,,, Actually I read a review of a Fats Domino concert recently. According to Nate Chinen, Fats has still got it. Amazing. Anyway, I was on my way to the airport. Seriously starved for music. I was unable to reach my usual state while driving, which is moderate fourth chakra bliss. This because I was driving a loaner. No, I don't give a shit what I drive, BUT I couldn't for the life of me find the cd changer so I couldn't get my music going, so no transcendent bliss at the wheel. I called the mechanic that gave me the loaner. If he knew where the cd changer was, he wasn't saying. It occurs to me now that I could have simply listened to the cd's that were already in the changer. That's obvious. Why didn't I think of that? Anyway, I was skipping between channels trying to find something, anything. Just some music. I like Canto pop. I like Mandopop. Whatever. It was mostly adverts, but occasionally I would get a little sugary vibe going: Wo shi hen kai shi shi zhe shi ngai ni ngai ni walla walla, etc Fine. I can deal with that, but after the song there would be ten minutes of traffic report. Monotonous, but not enough to induce the trance that I sought... I lucked into a pretty good program for about ten minutes of this guy demonstrating beat box rhythms in Cantonese. Yi ga ngaw jaw gogo Roland TR baat Ling Baat ge seng: Boom boom bap, boom ba boom bap. And then tepid applause from the studio audience. Ok, fine. Maybe some of you heard that. Hell, maybe a few of you were actually there watching... I dunno. Finally I went into the shing mun tunnels after Sha Tin, and got some static noise, some low growling static, it was starting to sound like, um, wait a minute, um, maybe a little Merzbow, zhssszzzsnappple snapple whizzz grrrrraaaooooopppp... a little Oval Process, I, I ahh... I could feel myself relax, the chakras gradually lining up in sequence, a slight, almost imperceptible glow on that fourth energy center that I love... and then I left the tunnel and... massive deflation. Boom ba boom ba boom. Ah shit! There was just no way I was gonna get my groove on. So I tried to focus on the transitory nature of... well basically everything. It wasn't hard, seeing as I couldn't pick up a steady signal to save my life. Finally I got to the airport. People look better at airports. You get to see what everybody looks like when they are coming. I like airports. Hey, I have a big China tour coming up, and I will be in Hong Kong at Le Rideau on 21 and 22 December. Here's the deal: Anyone who comes to the show by way of his blog, and is not totally satisfied with our performance can mention this blog, and their unhappiness. If they can come up with a reason why they don't like the music that makes me laugh, I will give them their $150 dollars back. On the spot. That's a promise. I'm gonna carry a little cash. I usually do. Would be thieves take note: I mean don't take notes. from me. God dammit. This is an incredible band. Read the info below, please come to the show, please say hello. Thanks. Below are the relevant details: Headache: instrumental improvised rock/jazz featuring the cream of the NY Downtown scene. Friday December 21 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150 2850 8833 reservations recommended Saturday December 22 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150 2850 8833 reservations recommended Headache is bassist Peter Scherr’s musical brainchild. He writes music for this project with a very special set of circumstances and musicians in mind. Headache’s music uses elemental rhythmic and melodic building blocks which fuse Pan-American and African aspects in a furnace of electric guitar and drums. These strange miniatures, stated forcefully and spun out of control in a thousand different directions, contrast with moments of exquisite tenderness. The band’s melodic focus is in the hands of saxophonist Briggan Krauss, whose entrances guide the music to striking peaks. Guitarist Tony Scherr deploys a huge expressive range, from delicate strings of passing chords to blaring, splintery rackets, at once dramatic and quite beautiful. The music rides on a wave of explosive rhythmic interplay. Jim Black, one of the five most interesting drummers working in creative music today, is an essential part of this group. A compact, elfin presence, Mr. Black fearlessly embodies the demonic and angelic, drawing a huge range of effects from his instruments and colleagues. Jim Black has been playing drums for twenty-eight years. Born in 1967, he grew up in Seattle, WA, playing music ranging from garage rock to big band swing. In 1985 he went to Boston, MA to attend the Berklee College of Music. During this time he recorded numerous albums, performed in Europe and taught summer classes at Berklee. In 1991 he moved to Brooklyn, NY, and has since become one of the most in demand drummers in the jazz/new music scene today. In addition to co-leading and composing for the groups Pachora and Human feel, Jim records and tours extensively with diverse groups, including Ellery Eskelin, Chris Speed's Yeah No, Tim Berne's Bloodcount, Dave Douglas' Tiny Bell Trio, Uri Caine's Mahler, Bach, and Berio Projects, and Laurie Anderson. Briggan Krauss attended Cornish College of the Arts in Seattle, Washington where he received a Bachelor of Fine Arts degree in music performance in 1992. In 1994 Briggan moved to Brooklyn, New York where he still lives today. Briggan has performed and recorded with musicians such as John Zorn, Wayne Horvitz, Bill Frisell, Eyvind Kang, Robin Holcomb, Anthony Coleman, Steven Bernstein's "Sex Mob", Madeski Martin and Wood, Bobby Previte, Jim Black, Hal Willner, Joey Baron, the New York Composer’s Orchestra and many others. Peter Scherr is an American double bassist/composer living in Hong Kong. He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and avant-garde music performance and composition. He has performed and recorded with leading creative musicians such as his brother Tony Scherr, drummers Kenny Wollesson, Jim Black and Anton Fier, Bruce Huron, John Carlson, Matt McMahon and Simon Barker among many others. Mr. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts. One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world. Since coming to New York in the 80s, Tony Scherr has become one of the city's most prolific and in-demand sidemen, playing integral roles in the music of such notable artists as Willie Nelson, Bill Frisell, John Lurie (Lounge Lizards), Steve Bernstein (Sex Mob), and Norah Jones, as well as some of New York's better-kept secrets, such as Jesse Harris and the Ferdinandos, The Wollesens, Ursa Minor, and Slowpoke. Tony has recorded most of these latter artists at his Brooklyn home studio, helping to foster and document a tight-knit, intimate scene of players who are as skilled and daring as they are broadminded and modest. 頭疼： 紐約音樂世界精華提議搖滾樂或騎士器樂頭疼 即席是低音提琴手彼得Scherr想法音樂項目。他由於小組特別場面和音樂家來為這項目編輯音樂。頭疼音樂通過電吉他使用一些基本的節奏和曲調模塊、這些模塊和鼓平底鍋美國和非洲典型保險絲一起。這些奇怪的小片段由強有力的方式使用并且狂放地動搖，形式醒目的對比以美好的柔和的片刻。樂隊的曲調主要由Sachs手Briggan Krauss扣除，他加入教導音樂對上升組成你衝擊的峰頂。吉他演奏員Scherr表現是充分的托尼，範圍是寬廣的，打雷弄出聲響的撕裂由精妙的處理弦曲調，是極端精妙的，當富有的戲劇時。在音樂家之間協調造成音樂提出波形形式，易爆和富有的節奏動搖。多數讓現在五鼓手作為人感興趣的創造性音樂世界，黑色是這個樂隊的重要組成部分的吉姆之一。black先生短小，年輕和聰明是可能的同樣，大膽彙集惡魔，并且天使在一個身體，通過他的樂器和同事，做不斷變化的作用。 吉姆黑色參與了音樂表現已經28年。1967年他出生，長大在華盛頓州西雅圖，在期間演奏了每种音樂，搖擺的愉快從車庫搖滾樂到大樂隊。1985年，他對是被找出的馬薩諸塞狀態波士頓去的Burkley音樂學院學校，在填裝期間做了無數的特刊，去歐洲執行，并且教了暑期學校在Burkley。1991年，他搬到紐約釀造Kelin，從現在起和成為騎士或新的音樂世界多數人現在邀請的其中一位鼓手。除共同的主導的簽名人Pachora和人的感覺以外這二個樂隊和為它組成的音樂，吉姆用各種各樣的樂隊和遊覽廣泛也填裝系統唱片。這些樂隊包括Ellery Eskelin，呀克里斯速度沒有， Tim伯爾尼Bloodcount，戴維・道格拉斯微小的響鈴三重奏， Uri Caine Mahler， Bach和Berio射出，並且Laurie安徒生。 Briggan Krauss研究在華盛頓西雅圖的康沃爾藝術學院，在1992獲得音樂執行學士學位。1994年Briggan移動了向紐約釀造Kelin和總居住那裡。Briggan執行和抄錄了唱片音樂家與它合作包括約翰Zorn，韋恩Horvitz，比爾Frisell， Eyvind Kang，知更鳥Holcomb、安東尼Coleman，史蒂文Bernstein 「性暴民」， Madeski馬丁和木頭， Bobby Previte，吉姆黑色， Hal Willner， Joey樂隊男爵，紐約作曲家，等等。 Scherr是你的彼得居住海外香港的美國低音提琴手，并且作曲家，有超過20年連續體驗的專業，從交響樂表現到騎士和最尖端的音樂表現和組成音樂。一次他與多數頭等創造性音樂家以臺灣表現和抄錄唱片，包括他的兄弟托尼Scherr，鼓手Kenny Wollesson，吉姆黑色和安東Fier，布魯斯休倫湖、約翰Carlson，馬特McMahon和西蒙剝皮器等等。shcerr先生在獨特的興趣領域音樂雄偉和啟發追求。他當前重點是創造性音樂概念表現。他的一個遠程宗旨，用途世界每位地方多數卓越的即席音樂家的能力，在中國認識創造性音樂普及。 來自到紐約80年代，托尼Scherr成為在城市執行最頻繁，并且多數接受歡迎的其中一陪同，承擔在多數著名藝術家的音樂的不可缺少的角色。在這些藝術家包括比爾Frisell，約翰Lurie (花花公子)，史蒂夫Bernstein (性暴民)和Norah瓊斯，以及紐約一些仍然安置內在樂隊，例如Jesse哈里斯和Ferdinandos， Wollesens，小熊座並且Slowpoke。托尼在自己的在多數人位於釀造Kelin的家庭把室全部錄音為後面這些記錄藝術家的，幫助培養和記錄一個關係接近的音樂家圈子成長。這些人不僅天分和技巧卓著，大膽的創新，同時觀點也是開放的并且普通。 And if you are gonna be in China, you can maybe catch these shows. This is not a commercial. Just information. Headache China Tour venue info巡演场地资料: Saturday, December 15 无锡市北仓门37号北仓门生活艺术中心(保利广场家乐福一侧的巷子尽头) BCM Art Center, 37 Beicangmen, Wuxi , Jiangsu province. Sunday, December 16 深圳市福田区华强南上步路1019号根据地酒吧 755-8363 3533 The Base Bar, 1019 Shangbu Road, Huaqiang South, Futian District, Shenzhen Monday, December 17 广州市水荫路城市会副大堂喜涡 1st Floor, Chengshi Hui, Shuiyin Road, Guangzhou Tuesday, December 18 青岛电视塔顶楼，青島市中心櫸林公園內 Qingdao TV Tower, Julin Park, Qingdao. Wednesday, December 19 南京路100号 创意100产业园 3号楼401室 Room 401, Building 3, Creative 100, Nanjing Lu 100 Qingdao Thursday December 20 Shanghai JZ club 46 Fu Xing Xi Lu 10:00 pm start Friday December 21 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150/$350 with dinner 2850 8833 Saturday December 22 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150/$350 with dinner 2850 8833 Sunday December 23 重庆江北区观音桥步行街新世纪百货2楼芭莎酒吧 Bossa Nova Bar, 2/F New Century Department Store, Guanyin Bridge Foot Street, Jiangbei District, Chongqing Tuesday December 25 北京东城区张自忠路3-2号愚公移山 010-6404 2711 Yuyongyishan, West Courtyard Duanqi Rui Former Government,3-2 Zhang Zizhong Road, Dongcheng District, Beijing. Thanks and hope to see you there!
