Les Diaboliques: Irene Schweizer, Joëlle Léandre, Maggie Nicols, foto: materiłay prasowe

Les Diaboliques (Irene Schweizer, Maggie Nicols, Joëlle Léandre)

fortepian, głos, kontrabas

piątek, 26 października, godz. 20:00

Irene Schweizer – fortepian

 

Występuje i nagrywa z wiodącymi europejskimi improwizatorami i muzykami free jazzu od lat 60., w tym z kobiecymi improwizującymi grupami od końca lat 70. Współzałożycielka festiwali muzycznych Taktlos i Canaille, a także szwajcarskiej wytwórni płytowej Intakt Records. W końcu lat 60. trio z Irene Schweizer tworzą Peter Kowald i Pierre Favre, do których później dołącza Evan Parker. W 1973 Schweizer rozpoczyna wieloletnią współpracę z Rüdigerem Carlem. Począwszy od występu na Willisau Jazz Festival w 1976 daje także solowe recitale i angażuje się w ruch Feminist Improvising Group wraz z Maggie Nichols, Lindsay Cooper i wieloma innymi artystkami. W 1983 grupa zmienia nazwę na budzącą mniej polityczne skojarzenia European Women’s Improvising Group. Z niej w początku lat 90. wyłania się trio Irene Schweizer, Maggie Nicols i Joëlle Léandre, nazwane Les Diaboliques. Irene Schweizer nagrywa także płyty z tak wybitnymi artystami, jak Marilyn Crispell, Han Bennink, Andrew Cyrille, Günter Sommer.

 

Maggie Nicols – głos

 

Awangardowa wokalistka, aktywna na scenie europejskiej muzyki improwizowanej od czasu przystąpienia do formacji Spontaneous Music Ensemble w końcu lat 60. W ciągu całej swojej kariery pracowała nad umocnieniem pozycji kobiet w dziedzinie muzyki improwizowanej i innych sztuk.
Urodzona w końcu lat 40. w Szkocji, porzuciła szkołę, aby występować w teatrze i klubach jako tancerka. Jako miłośniczka jazzu, zaczęła także śpiewać z towarzyszącym jej pianistą bebop Dennisem Rose. W 1968, wraz z Johnem Stevensem, Johnnym Dyani i Trevorem Wattsem utworzyła pionierski kolektyw improwizatorów Spontaneous Music Ensemble, z którym wystąpiła na berlińskim awangardowym festiwalu First Total Music Meeting. Wraz z Kenem Hyderem, Brianem Ely, Philem Mintonem, Julie Tippett i Keithem Tippettem tworzyła zespoły Voice, Centipede.

W końcu lat 70., jako aktywna feministka, współtworzyła formacje OVA, Feminist Improvising Group, Contradictions. Współpracowała także z Changing Women Theatre Group. Przez lata regularnie występowała i nagrywała z Irene Schweizer i Joëlle Léandre w trio Les Diaboliques.
Tworzyła też duet z Kenem Hyderem, włączając do jazzowych improwizacji tradycyjne szkockie motywy. Maggie Nicols w ciągu kilku dekad swej kariery występowała z muzykami z całego świata, takimi jak Gunter ‘Baby’ Sommer, Lol Coxhill, Anna Marie Roelofs, Australian Relative Band, Loverly Band.

Joëlle Léandre – kontrabas

 Francuska kontrabasistka, improwizatorka, kompozytorka, jest jedną z wiodących postaci nowej muzyki w Europie. Wykształcona klasycznie, występowała z takimi zespołami muzyki współczesnej, jak l’Itinéraire, 2e2m, czy Ensemble Intercontemporain Pierre’a Bouleza. Współpracowała z Mercem Cunninghamem i Johnem Cage’em, który specjalnie dla niej pisał utwory – podobnie jak Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi i 40 innych kompozytorów.

Jednocześnie Léandre występowała z wielkimi osobowościami jazzu i muzyki improwizowanej, takimi jak Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke i wieloma innymi.

Pisała muzykę dla teatru, tańca, do multidyscyplinarnych performansów. Wykładała w słynnym Mills College, Oakland, CA. Zapraszana do najbardziej prestiżowych sal Europy, obu Ameryk, Azji.

Irene Schweizer – piano

 

Pianist Irène Schweizer performed and recorded with leading European improvisers and free jazz musicians since the 1960s, including female improvising groups starting in the late ’70s. She is one of the initial organizers of the Taktlos and Canaille music festivals, and she is also a founding member of the Intakt label. Born in Schaffhausen, Switzerland, in 1941, Schweizer grew up hearing dance bands in her father’s restaurant. When she was about 12 years old, she started playing piano, and a couple of years later picked up the drums as well. At the age of 17, Schweizer’s interest moved away from early jazz styles toward modern jazz. In the early ‘60s she was living in England, taking piano lessons primarily with Eddie Thompson, who taught her stride, bebop, and more. When Schweizer returned to Switzerland, she was playing soul-jazz and hard bop, and started up a trio with drummer Mani Neumeier and Uli Trepte. Her playing was soon influenced by the South African players she heard at Zurich’s African Jazz Cafe as well as by Johnny Dyani, Dollar Brand and Ornette Coleman’s Free Jazz. She was also heavily affected by the recordings of Cecil Taylor. Her trio became known outside Switzerland, and was invited to play at the Frankfurt Jazz Festival in 1966, where she heard such German improvisers as saxophonist Peter Brötzmann, bassist Peter Kowald and finally Cecil Taylor at the live concert. Schweizer turned to developing her individual style and technique. During the late ’60s, she was active in a trio with Kowald and Pierre Favre which Evan Parker eventually joined. In 1973 she began her collaboration with Rüdiger Carl (Schweizer and Carl continued to work together off and on throughout their careers). Schweizer began giving solo performances starting in 1976, at the Willisau Jazz Festival. She also became involved in the Feminist Improvising Group, joining Maggie Nichols, Lindsay Cooper, and more. The group changed its name in 1983 to one with less political connotations: the European Women’s Improvising Group. Out of this large group arose an intermittent trio of Schweizer, Nicols, and Joëlle Léandre, called Les Diaboliques, formed in the early ’90s. Schweizer has recorded with amazing musicians from around the world, including pianist Marilyn Crispell, and leading percussionists Han Bennink, Andrew Cyrille, Günter Sommer, and more.

Maggie Nicols – voice

 

Avant-garde vocalist Maggie Nicols has been an active participant in the European improvisational community since joining the Spontaneous Music Ensemble in the late ’60s. Throughout her career, she has also worked to further women in improvised music and other creative arts not only by example, but through workshops and extensive collaborating.

Born in the late ’40s in Scotland, Nicols quits school in her mid-teens to work as a dancer at the Windmill Theatre, and a year later, secured her first singing gig in a local strip club. In addition to some traveling as a dancer, which included several months in Paris, Nicols became a dedicated jazz fan and began singing around Britain, sometimes collaborating with bebop pianist Dennis Rose. In 1968, she joined an early improvisational group, with John Stevens, Johnny Dyani, and Trevor Watts, the Spontaneous Music Ensemble, and the group performed that year at Berlin’s avant-garde festival, First Total Music Meeting. Around this time, Nicols also began collaborating with the Scottish percussionist Ken Hyder and formed a vocal group called Voice with vocalists Brian Ely, Phil Minton, and Julie Tippett — the latter two were also in another band with Nicols at that time; Keith Tippett’s enormous ensemble, Centipede. Nicols and Julie Tippett also led a release for the FMP label in the late ’70s, called Sweet and S’Ours.

By the late ’70s, Nicols became an active feminist and co-founded the group OVA, as well as the Feminist Improvising Group, with Lindsay Cooper. She also organized Contradictions, a women’s workshop performance group that began in 1980 and dealt with improvisation and other types of performances in a variety of media including music and dance. Over the years, Nicols has collaborated with other women’s groups such as the Changing Women Theatre Group, and even wrote music for a prime-time television series Women in Sport. Nicols has also collaborated regularly over the years with pianist Irene Schweizer and formidable bassist Joëlle Léandre, including tours and recordings (on Intakt Records) as a trio Les Diaboliques. In addition to this is her ongoing collaboration with Ken Hyder. The duo incorporates elements of the traditional tunes of their shared Scottish background into jazz improvisations in their most recent project, Hoots and Roots Duo. Other continuing projects includes a duo with pianist Pete Nu

Maggie Nicols has performed internationally for several decades, including solo performances at the Moers Music Festival and a number of other creative and improvised music festivals. She has worked with many improvisers from all over the world including drummer Gunter ‘Baby’ Sommer, British soprano saxophonist Lol Coxhill, Anna Marie Roelofs (who leads the group the Waste Watchers), the Australian Relative Band (with Jim Denley), the Loverly Band, Trevor Watts’ Moire Music, and Al Dente.

Joëlle Léandre – double bass

 

French double bass player, improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l’Itinéraire, 2e2m and Pierre Boulez’s Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her – as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.

As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others…

She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006 she is Visiting Professor at Mills College, Oakland, CA, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.