geschmacksarbeit by joachim zoepf
music for woodwinds and computer interface
recorded 2017 and 2018
"Der Geschmack ist jederzeit noch barbarisch, wo er die Beimischung der Reize und Rührungen zum Wohlgefallen bedarf, ja wohl diese noch zum Maßstabe seines Beifalls macht." (Kant, Kritik der Urteilskraft)
"Taste is still barbaric at all times where it requires the addition of stimuli and emotions for its pleasure, indeed where it makes them the measure of its approval". (Kant, Critique of the Power of Judgement)
Tracklist
| 1. | kurzwellen No.2 | 5:40 |
| 2. | kurzwellen No.3 | 2:13 |
| 3. | kurzwellen No.4 | 5:32 |
| 4. | kurzwellen No.5 | 3:07 |
| 5. | kurzwellen No.6 | 3:37 |
| 6. | kurzwellen No.7 | 2:09 |
| 7. | langwellen No.1 | 2:29 |
| 8. | langwellen No.2 | 2:58 |
| 9. | langwellen No.3 | 6:27 |
| 10. | langwellen No.4 | 3:04 |
| 11. | langwellen No.5 | 2:55 |
| 12. | langwellen No.6 | 4:43 |
| 13. | langwellen No.7 | 5:29 |
| 14. | langwellen No.8 | 2:55 |
Credits
released December 1, 2018
NurNichtNur: one of the four or five most important labels
of the German AND European improvised music scene, of which the clarinettist and saxophonist Joachim Zoepf is a pillar. Of all the post-Evan Evan reed blowers (Fuchs, Doneda,Leimgruber, Butcher, Keune, Van Bergen, Wissell), he is probably one of the one of the least recorded, despite the remarkable list of his recordings with recordings with first-rate improvisers. Paul Hubweber, Gunter Christmann, Alex Frangenheim, Hans Schneider, Marc Charig, Michael Griener and percussionist Wolfgang Schliemann, with whom he recorded a superb duet (Zweieiige Zwillinge on the label NurNichtNur label. Today, he has become the man of of the brilliant Gunter Christmann, one of the two pioneers of radical German improvisation (with and in the company of Paul Lovens) during the Lovens) during the 70's. JZ works closely with the Editions Explico and this label produced his remarkable
solo album Bagatellen. With a print run of 100 copies, Geschmacksarbeit, his sixth solo album, documents his Kurzwellen für SopranSaxofon und Computer interface and his Langwellen für Bass Clarinet and Computer Interface (2017 - 2018). This kind of approach
only makes sense if the use of interactive electronics brings a new dimension to the acoustic instrument by giving it a subtle symbiosis, an increase in tension, an interesting textural extension, etc.tensionetc.... It avoids the aesthetic pitfall of of evanescent counterpoint, of question-answer interaction, or of the or disembodied noise jamming. Much of the interest interest lies in the textural sound envelope of the electronic medium which attributes of breath loops (fingering, articulation, etc.) while transforming them (fingering, articulation, etc.) while transforming them in such a way as to increase the roughness, friction friction, density, dynamics. Compared to some attempts by colleagues, his approach with electronics stands out in my opinion without my opinion without hesitation. It goes beyond the stage of the interesting or the honourable attempt. It's true that for a free improviser it's better to look for and try to discover something new. better to look for and try to discover something new than to push open doors. than to push open doors. But you also have to convince in the absolute. With his kurz- and langwellen, Joachim Zoepf goes further. He delivers a vital work that sublimates his enthusiastically.
(Jean-Michel Van Schouwburg)
NurNichtNur: one of the four or five most important labels
of the German AND European improvised music scene, of which the clarinettist and saxophonist Joachim Zoepf is a pillar. Of all the post-Evan Evan reed blowers (Fuchs, Doneda,Leimgruber, Butcher, Keune, Van Bergen, Wissell), he is probably one of the one of the least recorded, despite the remarkable list of his recordings with recordings with first-rate improvisers. Paul Hubweber, Gunter Christmann, Alex Frangenheim, Hans Schneider, Marc Charig, Michael Griener and percussionist Wolfgang Schliemann, with whom he recorded a superb duet (Zweieiige Zwillinge on the label NurNichtNur label. Today, he has become the man of of the brilliant Gunter Christmann, one of the two pioneers of radical German improvisation (with and in the company of Paul Lovens) during the Lovens) during the 70's. JZ works closely with the Editions Explico and this label produced his remarkable
solo album Bagatellen. With a print run of 100 copies, Geschmacksarbeit, his sixth solo album, documents his Kurzwellen für SopranSaxofon und Computer interface and his Langwellen für Bass Clarinet and Computer Interface (2017 - 2018). This kind of approach
only makes sense if the use of interactive electronics brings a new dimension to the acoustic instrument by giving it a subtle symbiosis, an increase in tension, an interesting textural extension, etc.tensionetc.... It avoids the aesthetic pitfall of of evanescent counterpoint, of question-answer interaction, or of the or disembodied noise jamming. Much of the interest interest lies in the textural sound envelope of the electronic medium which attributes of breath loops (fingering, articulation, etc.) while transforming them (fingering, articulation, etc.) while transforming them in such a way as to increase the roughness, friction friction, density, dynamics. Compared to some attempts by colleagues, his approach with electronics stands out in my opinion without my opinion without hesitation. It goes beyond the stage of the interesting or the honourable attempt. It's true that for a free improviser it's better to look for and try to discover something new. better to look for and try to discover something new than to push open doors. than to push open doors. But you also have to convince in the absolute. With his kurz- and langwellen, Joachim Zoepf goes further. He delivers a vital work that sublimates his enthusiastically.
(Jean-Michel Van Schouwburg)
License
All rights reserved.Tags
composer
improviser
soundartist
videoartist
performer
bassclarinet
saxophones
piano
electronics