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- Axel Dorner-Robin Hayward-Lucio Capece

Axel Dorner (trumpet)-Robin Hayward (Tuba)-Lucio Capece (soprano saxophone, bass clarinet)
Axel Dorner and Robin Hayward are one of the most interesting musicians coming from the new improvised music scene from Berlin.
They have developed an extremely particular approach to their instruments, playing them as electro-mechanic studios.They produce mostly non-pitched sounds of a particular and detailed worked personality.
Lucio Capece plays preparing his instruments with different kind of materials (water,paper,plastic, ping pong balls, etc) and his own created extended techniques.
Beyond the aspect of working a similar kind of sound ideas the group works in the research of an abstract non narrative improvisation.
Sometimes considered in a quite banal way just as “reductionism”, the ideas of the group go beyond a simple reduction of musical aspects, and actually does not consider this aspect as a main issue in their work. Moments of dense activity and others more peacefull and detailed interact in the intention to work music considered as time itself, with no starting, no developments, or no ending, mainly working in the construction of a state, a listening situation.
A recorded track of this trio will be released in the upcomming edition of the Improvised Music from Japan magazine-cd.
Several recordings, the last one playing a live concert at Amann studios in Vienna are being mixed to be released in 2006.
for more information about the musicians:
Dorner: http://www.shef.ac.uk/misc/rec/ps/efi/musician/mdorner.html
Hayward: http://www.robinhayward.de/


-NMM . (No More Music at the Service of Capital).
Mattin-Lucio Capece
Mattin (computer feedback)-Lucio Capece (mixer feedback modified by saxophone )

Mattin uses computer (& guitar) feedback to accentuate the proccesual and instant character of the improvisation performance. Feedback is self generated and self sufficient.Much of Mattin s exploration in sound is rooted in contrast. The contrast of extreme high and low volumes, and between the digital and physical sound of the computer (exposing the monopoly of detached amplification in sound delivery). These interests are reflected in Mattin s influences which range from, Whitehouse to Malfatti, from Feldman to Eskorbuto.The performative aspect of computer improvisation has led Mattin to explore the different meanings that visual representations of this practise can have in different contexts. His work focuses also on the potential for misunderstandings and reinterpretation in the reception of performance.
Mattin sahred projects with Eddie Prevost, Radu Malfatti,Dion Workman,
Mark Wastell, Junko, Alan Courtis, Billy Bao, and many others.

Lucio Capece plays an electro-acoustic set:Mixer feedback modified by an inside amplified saxophone.The mixer is setteled in feedback connecting inputs to outputs.This feedback is modified by another feedback produced by two small microphones introduced into the bell of the saxophone.The microphones feedback is modified changing the fingering in the saxophone, but not blowing, modifying parameters in the mixer, and by the sound waves in the space going inside the instruments through all it’s openings.
The sound waves modify the feedback produced by the microphone, this one the feedback produced by the mixer generating new sounds that once in the air continue the feedback cycle.two additional volume pedals, one self made mini speaker and a small violin bow are additional parts of the set.
The result is a raw texture of noise mixed with pitches created in the saxophone.
All the sounds and the modifications are played in real time, there are no recordings or effects.

NMM (No More Music at the Service of Capital) is an extreme project.
Mattin s unique approach to computer playing with feedback and Capece s playing with the mixer feedback modified by an inside
microphone into the reeds instruments bells creat a sound art idea between music and performance.In which instruments are not played as such,being worked in real time according to a particular behavior that their sort of extreme treatment imposes.
The group works in the borders of perception,noise, and performance.
CD released on Why not? Editions: No More Music at the service of capital (http://www.geocities.com/whynotltd/)
The group played in Berlin. Strasbourg, Brussels, Oslo, etc.
Info about Mattin:www.mattin.org


-Franz Hautzinger- Domenico Sciajno- Lucio Capece.

Franz Hautzinger ( inside amplified trumpet), Domenico Sciajno (laptop) and Lucio Capece (bass clarinet, soprano saxophone, mixer-sax feedback).
The music of this trio can be heard mostly as live concrete music. Franz Hautzinger and Lucio Capece work their instruments in the research of sounds strongly influenced by everyday sounds, electronics and machines. Franz Hautzinger plays with a microphone in the bell of his instrument, making listenable extremely delicate material mostly produced by his unique blowing resources, Lucio Capece plays with preparations and extended techniques in his instruments , making them hardly recognizable as what they are in their origins. The duo is mainly processed, diffused and mixed live by Domenico Sciajno, who proposes his unique approach to the electronics, using also field recordings .
The music sounds like a walk in a lonely city full of machines (that in fact do not seem to work properly), people searching for water or something essential to keep on living.
The trio has recorded a first cd to be released on the label Quakebasket from New York in 2006.
A new recording made in a concert at Instants Chavires in may 2005, Paris, is being mixed at the moment.
Hautzinger: http://www.mdw.ac.at/I115/html/mitarbeiter.php?PN=6
Sciajno: www.ixem.it/sciajno/


-Sound Like Water Project
Xavier Charles, Thomas Ankersmit, Burkhard Beins ,Thomas Charbonnel, Lucio Capece.

Xavier Charles ( Vibrating surfaces), Thomas Ankersmit (prepared alto saxophone), Burkhard Beins (percussion , selected objects on assorted resonators) Thomas Charbonnel (Sound Diffusion), Lucio Capece (bass clarinet, soprano saxophone, mixer-sax feedback)
-Instruments and tools.
The point of departure of this project is the common and unusual approach that the peformers have to their instruments.
Lucio Capece, Thomas Ankersmit and Xavier Charles had a first meeting in Berlin in April 2004.
Xavier Charles plays what he calls “vibrating surfaces“::
two Speakers placed in a horizontal way on a table (as Keith Rowe does with a guitar or Polock with a painting) are put in vibration by a sub low fixed frequency. Different kinds of objects are placed in the speakers (metal,wood,paper,etc) and amplified, taking the sound material with two microphones placed very close to the speakers. This produces a “continnum”, a kind of drone, or permanent sound surface that evolves slowly and carefully.

The approach is almost the same in how Thomas Ankersmit(alto saxophone) and Lucio Capece (bass clarinet, soprano saxophone), play their instruments. The basic vibrating energy in this case is provided by blowing air (very often using circular breathing), but also with different kind of objects (metal mostly in Ankersmit, ping pong balls, plastic and water mostly in Capece s way of playing) placed on the instruments bells or other sectors of the instruments. The different range of the instruments and the fact that one of them is built in wood provides more interest to the common idea.

The music was based in an almost permanent sound presence, high intensity and density.
Capece ‘s electronic set consists in a mixer in feedback modified by an inside amplified saxophone. The mixer is settled in feedback connecting inputs to outputs .This feedback is modified by another feedback produced by two small microphones introduced into the bell of the saxophone.The microphones feedback is modified changing the fingering in the saxophone ,but not blowing, modifying parameters in the mixer, and by the sound waves in the space going inside the instruments through all it openings. And so on.
Thomas Ankersmit also plays moving and placing the instrument in the space, but in an acoustic way.
The group found automatic connections in the unusual approach to the instrumental construction and performing.
The continuum sonority provided a ritual-industrial aura to the moment.
Out of this experience percussionist Burkhard Beins and musician, sound and free software programmer Thomas Charbonnel were invited to join the group.
Beins suggested immediately to play an special set of two snare drums motors and other self created devices to develop the acoustic and mechanical aspects of the project.

Thomas Charbonnel is a member of the Linux community. An rare case of musician and technician who builds his own software depending on how to work with a computer for an specific project and people. He made experiences going from the organization of live performances with Bosetti (akusmaticher Salon at Ausland, October 2005) to mixing-editing and processing recordings . He is also an active member of the new improvised music community from Berlin, adding an interesting approach coming from the „Concret Music“ background.
Thomas Charbonnel work in Sound Like Water project is to put and take sounds from one side to the other side of the place, manipulating the intensities and then making one or an other material more or less present in a different sector of the performing room.

- Concept and Background
Beyond the musical aspect itself there is a particular approach in the gesture of just putting an everyday object in a vibrating surface.
The speakers are here considered instruments and the instruments are considered speakers amplifying in their bells everyday objects and materials vibrating.
There is an industrial gesture in the fact of putting and taking things off, and there is a ritual one in the fact that music rarely stops completely, providing a sort of drone with different layers of intensities, materials, colors, velocities on the vibration of objects.
There is a mechanical-worker act in putting and taking off and a meditative gesture in the fact to allow them have their own life and just enjoying seeing and listening to it living.
An emptiness of self expression in both gestures that becomes presence in the gesture of doing it, of making a movement with no personal intention but doing it anyway.

- Space
The idea is to work with the whole space in the same way like we put a ping pong ball in bass clarinet bell or paper in a speaker.
The performing space for this project should become a vibrating surface.
In this case the energy will be provided by the sounds, making the object vibrate.
This has a lot to do with density and intensity. The group builds a texture, waves of high density material that moves, dissolves, evolves and builds new different forms interacting and producing vibrations in the building. Its necessary to say that the building is strong enough to be safe and have a high quality acoustic, but many of its parts get into vibration and sound like a string, a reed or a machine stimulated by specific (mostly low pitched) frequencies. Frequencies that the group will use to play in a respectful high loudness, as a necessary quality to be used as a tool.
The space should be full of traveling and interacting sounds.
Any portion of space and building should be in different kinds of interaction with sound.
Like water in a swimming pool, sound cells in the space.

Charles: www.vudunoeuf.asso.fr/xavier/
Beins: www.burkhardbeins.de
Ankersmit: http://www.answers.com/topic/thomas-ankersmit
Charbonnel: http://lac.zkm.de/2005/lac2005_soundnight.pdf

- Amber. Rhodri Davies-Robin Hayward-Julia Eckhardt-Lucio Capece.
Rhodri Davies( harp),Julia Eckhardt ( viola), Robin Hayward (tuba), Lucio Capece ( Bass Clarinet, soprano saxophone).

This group was born as members of a larger ensemble directed by Stevie Wishart, that performed music and visual art composed by her and artist Ludo Engels at De Singel (Antwerp, Belgium in January 2004)
After that, the group had the opportunity to rehearse , work together, perform and record, in Berlin, in april 2004, as a quartet.
The result is a cd released on the label Creative Sources, from Lisboa, in may 2005.
There has been , and there is, in the improvised music scene a strong debate around new tendencies (so called, in a reduced way “reductionism”). About what happened “before” and “during” and may come “after”the appearance of this approach ,that works giving special attention to silence, and specific ideas about the material and the energy . The debate wanders what can be the way, not to be fixed in an already established language an esthetic ,but not be taken by tendencies, developing music in a creative way. Giving something and at the same time not being depending on giving the “new thing” without a real content.
The music of this quartet, called “Amber”, expresses that color between red and green in a red light. This debate. This questions.
Rhodri Davies (Harp, UK) is one of the most interesting voices that has been involved into the London scene, producing a very particular step with musicians like Mark Wastell towards a new vision, that is related in some way to the strong and rich tradition . Robin Hayward (tuba, UK, Berlin) is a main musician in the Berlin scene.With musicians like Axel Dorner,Andrea Neumann, Annette Krebs and Burkhard Beins he has been fundamental in the developing of a non narrative, abstract vision of improvised music. Julia Eckhardt (viola, Germany, Brussels) has been mostly involved in composed new music, related to improvisation. She directs the Q02 Ensemble, with whom she recorded a cd playing Wandelweiser music.
Lucio Capece (Bass Clarinet, Soprano Saxophone, Argentina) has been involved in improvised music ,developing a personal vision focusing in the same kind of approach.
The music of this group is not in the middle of something. Intends to be this moment. A present enjoyed by the richness of a powerful established idea and the wish and need of alive sounds and new explorations.
A CD has been released on the label Creative Sources (Portugal).
Information about the cd and the label at:
http://www.creativesourcesrec.com/catalog/catalog_031.html
Reviews on this cd at:
http://www.creativesourcesrec.com/reviews/reviews_031.html
http://www.bagatellen.com/archives/features/000915.html
Davies: www.rhodridavies.co.uk
Hayward: www.robinhayward.de
Eckhardt: http://q-o2.vgc.be/db/index.asp


- Yannis Kyriakides. Lucio Capece duo.
Yannis Kyriakides (laptop), Lucio Capece (bass clarinet, soprano saxophone)

Yannis Kyriakides comes from Cyprus and lives in Amsterdam. He plays laptop. He s very recognized mostly as a new music composer. He won several prizes, like Gaudeamus and others.He writes compositions for small ensembles , he wrote an Opera based in Spinoza texts and other projects.As an improviser he has released a duo with Andy Moore from The Ex. They have in fact their own label , based in Amsterdam, called Unsounds.
.Yannis and Lucio have been playing as a duo since 2002.The sound of the group has elements of industrial sounds coming from Lucio ‘s side, and a more pop-expressive side coming from Yannis.
The recording of this group was made in a House Concert in Brussels, as a part of the Flemish festival.
Kyriakides: www.circadian.net


-Sergio Merce- Lucio Capece duo.
Sergio Merce ( portastudio ‘s prepared head), Lucio Capece (bass clarinet, soprano saxophone).

These argentinian musicians have been playing music together for ten years.
In the Avion Negro quintet and the Hipereter quartet (two drums and two reeds) they have been sharing are search movement from the interaction between composition and improvisation from a post free jazz language towards the free improvisation and the composition based in the physic characteristics of sound.
Sergio Merce has created his own electronic instrumental set, starting from elements not prepared originally for this. He plays a portastudio without tape.Touching the head of the portastudio with different kind of objects as needles, cutters, etc. he produces sounds that he processes with a very simple effects and equalization set.
Lucio Capece and Sergio Merce think that electronics in music but also in everyday life have changed our perception capacity and our idea of sound, giving us a new space for sound elaboration , in the electronic instruments,in the self created instruments, and maybe even more in the traditional acoustic instruments.
This new interaction space and it exciting conditions for real time playing are the point of departure for this two musicians creative meeting.
www.mercecapece.8k.com


-Pasionaria ( Sonic Rock Romantico)
.Zelda Panda: Toy keyboard, voice.Lucio Capece: electric guitar,mixer feedback.

Pasionaria is a rock project.Songs . Own creations and covers by Depeche Mode, Luis Alberto Spinetta, Billie Holliday, My Bloody Valentine, Il babbo di Roberta, etc
Zelda: http://www.larsdideriksen.com/marzipanmarzipan/feelinggood.html


- Solo.
Noise/ Acoustic Soprano Saxophone solo Set.

Noise solo set.Mixer feedback Modified by saxophone. The mixer is setteled in feedback connecting inputs to outputs.This feedback is modified by another feedback produced by two small microphones introduced into the bell of the saxophone.The microphones feedback is modified changing the fingering in the saxophone, but not blowing, modifying parameters in the mixer, and by the sound waves in the space going inside the instruments through all it’s openings.
The sound waves modify the feedback produced by the microphone, this one the feedback produced by the mixer generating new sounds that once in the air continue the feedback cycle.two additional volume pedals, one self made mini speaker and a small violin bow are additional parts of the set.
The result is a raw texture of noise mixed with pitches created in the saxophone.
All the sounds and the modifications are played in real time, ther are no recordings or effects.
The music evolves slowly with abrupt interruptions tht cut the narrativity.
This solo has been played in Berlin (Ausland, Joint Ventures), Happy New Ears Festival . Les Bains: Connective(Belgium), No Spaghetti Festival ( From Norway in Buenos Aires), Raum (Bologna), Malacarne (Verona), Metz (France)(sharing solos with Franz Hautzinger, Alessandro Bosetti, Erik M and others).
Around 20-30 minutes.


- Soprano saxophone acoustic solo set.

The soprano saxphone acoustic solo set is based in the characteristics of the curved soprano saxophone that allows to pu objects in the bell.using an special technique that keeps one of the hands free, and permanent air production through circular breathing technique Capece creats a sort of pitched drone that together with different layers of noises bulds a sort of noises/ notes simple polyphonic music.
Objects like ping pong balls, pieces of plastic bottles, stuff, water, a violin small bow and others are used as preparations.
Around 20 minutes.


- Bass Clarinet solo set.
The work with the bass clarinet is mainly based in extended techniques like multiphonics and circular breathing ,and preparations with water, ping pong balls, paper, pieces of plastic bottles , etc.
The multiphonics are mainly producing delicate battimentos, like sine waves that touch each other slowly and evolve.The large register in instrument allows to work harmonics in a precise and clear way.
The instrument is played like a complex sound machine.A permanent sound source evolves in a combination of sounds with pitches (mainly multiphonics or low pitched sounds) with detailed sounds produced with preparations .Influences of machines and electronic sounds can be appreciated.
Around 15 minutes.
According to travel conditions the Bass clarinet solo set can be a part of the whole solo performance or not.


E-mail : hipereter@yahoo.com