Tiger Trio (Nicole Mitchell, Myra Melford, Joëlle Léandre)

flet, fortepian, kontrabas

sobota, 27 października, godz. 20:00

Nicole Mitchell – flet

Flecistka, kompozytorka, leaderka zespołów, edukatorka, która stworzyła swój unikalny, improwizatorski język i wielokrotnie wyróżniana bywała w latach 2010–2017 tytułem „Top Flutist of the Year” Magazynu Downbeat i Jazz Journalists Association.
Wywodząc się z chicagowskiej nowej sceny muzycznej końca lat 90. podkreśla w swej muzyce elementy kultury afrykańsko-amerykańskiej, jest założycielką Black Earth Ensemble, Black Earth Strings, Sonic Projections i Ice Crystal oraz pierwszą kobietą-prezesem chicagowskiego Association for the Advancement of Creative Musicians.
Pisze także dla zespołów muzyki współczesnej, takich jak San Francisco Contemporary Music Players, włączając w swe kompozycje elementy improwizacji i szeroki estetyczny wachlarz ekspresji. Tworzy dzieła multimedialne i przekracza granice kultury, zapraszając do współpracy pochodzącego z Mali mistrza kory Ballake Sissoko, czy grającego na shakuhachi Kojiro Umezaki.
Mitchell występowała z wieloma wybitnymi kreatywnymi osobowościami sceny muzycznej, takimi jak Roscoe Mitchell, Joëlle Léandre, Anthony Braxton, Geri Allen, George Lewis, Mark Dresser, Steve Coleman, Anthony Davis, Myra Melford, Bill Dixon, Muhal Richard Abrams, Ed Wilkerson, Rob Mazurek, Billy Childs, czy Hamid Drake.
Wielokrotnie wyróżniana prestiżowymi nagrodami i zamówieniami kompozytorskimi ze strony m.in. Chicago Museum of Contemporary Art, Art Institute of Chicago, French American Jazz Exchange, Chamber Music America, czy Chicago Sinfonietta. Mitchell wykłada na Uniwersytecie Kalifornijskim w Irvine, ucząc kompozycji i improwizacji.

Myra Melford – fortepian

Pianistka, kompozytorka, stypendystka Guggenheima, wzrastając pod Chicago w domu zaprojektowanym przez słynnego architekta Franka Lloyda Wrighta, od dzieciństa otoczona byłą sztuką – dosłownie. Czerpie inspiracje z szerokiego spektrum kulturowych i duchowych tradycji – pism 13-wiecznego perskiego poety Rumiego, urugwajskiego dziennikarza Eduardo Galeano, mądrości Zen Buddyzmu, czy Indian Huichol w Meksyku, muzyki Henry’ego Threadgilla, Jaki Byarda, Dona Pullena. Dźwiękowo te poszukiwania wyrażają się w szerokiej palecie środków i poszerzaniu instrumentarium – wykorzystuje harmonium, instrumenty elektroniczne, amplifikacje ledwosłyszalnych dźwięków z wnętrza fortepianu, dodając elementy muzyki indiańskiej, kubańskiej, bliskowschodniej, afrykańskiej, europejskiego i amerykańskiego jazzu, czy eksperymentalnej muzyki współczesnej. Nie zapomina w tym o swoich chicagowskich korzeniach i tradycji bluesowej. Tworzy swymi dziełami nie tylko dialog ponadkulturowy, ale także przestrzeń dla działań multimedialnych, współpracując z aktorami, choreografami, artystami sztuki wideo.
Od swojego debiutu na nowojorskiej scenie Downtown wydała ponad 20 płyt i wzięła udział w nagraniach 40 innych. Ma na swoim koncie liczne nagrody i wyróżnienia, także uznanie ze strony krytyki Magazynu Downbeat i Jazz Journalists Association – „Pianist of the Year” (2008, 2009), „Composer of the Year” (2004).
Od 2004 wykłada na Uniwersytecie Kalifornijskim w Berkeley muzykę współczesną i improwizowaną.

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.

Nicole Mitchell – flute

Nicole M. Mitchell is an award-winning creative flutist, composer, bandleader and educator.
As a flutist she has developed a unique improvisational language and has been repeatedly awarded ‘Top Flutist of the Year’ by Downbeat Magazine Critics Poll and the Jazz Journalists Association (2010–2017). Mitchell initially emerged from Chicago’s innovative music scene in the late 90s, and her music celebrates contemporary African-American culture. She is the founder of Black Earth Ensemble, Black Earth Strings, Sonic Projections and Ice Crystal, and she composes for contemporary ensembles, while incorporating improvisation and a wide aesthetic expression. The former first woman president of Chicago’s Association for the Advancement of Creative Musicians, Mitchell celebrates endless possibility of ‘creating visionary worlds through music that bridge the familiar with the unknown.’ Some of her newest works with Black Earth Ensemble explores intercultural collaborations, featuring Malian kora master, Ballake Sissoko, Kojiro Umezaki (shakuhachi) and Tatsu Aoki (taiko, bass, shamisen). In October 2017 premiered Procession Time, a suite inspired by the work of Harlem Renaissance artist Norman Lewis, was performed by the San Francisco Contemporary Music Players conducted by Steve Schick. Mitchell has also recently been interested in multidisciplinary work, through the incorporation of original video art with her music. In January 2018, Mitchell was the Artist in Residence at New York’s Winter Jazz Fest, where she performed four suites of her compositions, including Art and Anthem (for poet Gwendolyn Brooks), Maroon Cloud (inspired by her writing ‘What Was Feared Lost’ from Arcana VIII edited by John Zorn), Pteradatyl, a new trio with vocalist Sara Serpa and Liberty Ellman, and her latest Afrofuturist suite, Mandorla Awakening, which was cited as a top jazz recording in the New York Times and the LA Times for 2017. As a composer, Mitchell has been commissioned by the French Ministry of Culture, the Chicago Museum of Contemporary Art, Art Institute of Chicago, the Stone, the French American Jazz Exchange, Chamber Music America (New Works), the Chicago Jazz Festival, ICE, and the Chicago Sinfonietta. Mitchell has performed with creative music luminaries including Craig Taborn, Roscoe Mitchell, Joëlle Léandre, Anthony Braxton, Geri Allen, George Lewis, Mark Dresser, Steve Coleman, Anthony Davis, Myra Melford, Bill Dixon, Muhal Richard Abrams, Ed Wilkerson, Rob Mazurek, Billy Childs, and Hamid Drake. She is a recipient of the Herb Alpert Award (2011), the Chicago 3Arts Award (2011) and the Doris Duke Artist Award (2012). Mitchell is a Professor of Music at University of California, Irvine, teaching composition and improvisation in the graduate program of Integrated Composition, Improvisation and Technology.

Myra Melford – piano

For pianist, composer and Guggenheim Fellow Myra Melford, the personal and the poetic have always been intimately and deeply connected. Raised outside Chicago in a house designed by the renowned architect Frank Lloyd Wright, Melford grew up literally surrounded by art.
Drawing inspiration from a vast spectrum of cultural and spiritual traditions and artistic disciplines, she has found a ‘spark of recognition’ in sources as diverse as the writings of the 13th-century Persian poet Rumi and the Uruguayan journalist Eduardo Galeano; the wisdom of Zen Buddhism and the Huichol Indians of Mexico; and the music of mentors like Jaki Byard, Don Pullen, and Henry Threadgill.
The latest incarnation of this ever-evolving cross-disciplinary dialogue is Language of Dreams, which premiere took place in November 2013 at the Yerba Buena Center for the Arts. The multi-media work is inspired by Uruguayan writer Eduardo Galeano’s Memory of Fire trilogy, a history of the Americas told through indigenous myths and the accounts of European colonizers. The piece combines music for Melford’s quintet Snowy Egret with narration by a multi-lingual actor, dance by Los Angeles-based choreographer Oguri, and video by Bay Area filmmaker David Szlasa.
Her work has earned Melford some of the highest accolades in her field. In 2013 alone, she was named a Guggenheim Fellow and received the Doris Duke Charitable Foundation’s Performing Artist Award and a Doris Duke Residency to Build Demand for the Arts for her efforts to re-imagine the jazz program at San Francisco’s Yerba Buena Center for the Arts. She was also the winner of the 2012 Alpert Award in the Arts for Music. She has been honoured numerous times in DownBeat’s Critics Poll since 1991 and was nominated by the Jazz Journalists Association as Pianist of the Year in 2008 and 2009 and Composer of the Year in 2004.
Melford’s musical evolution has long run in parallel with her spiritual search. Sonically, that quest is expressed via her wide-ranging palette, which expands from the piano to the harmonium and electronic keyboards or to amplifying barely audible sounds in the piano’s interior, with accents from Indian, African, Cuban and Middle Eastern musics or the cerebral abstraction of European and American jazz and classical experimentalism.
While Melford’s music continually reaches toward a state of transcendence, it still remains deeply rooted in the blues traditions she heard growing up in the Chicago area. In 1978, she first encountered violinist Leroy Jenkins, her introduction to the AACM, whose boundary-free, adventurous approach to jazz remains an influence. She would go on to study with Jenkins, together forming the collective trio Equal Interest with multi¬reedist Joseph Jarman in 1997.
Melford moved to the East Coast in 1982 and began performing in New York City’s thriving Downtown scene, making her recorded debut as a leader in 1990; she has since released more than twenty albums as a leader or co-leader and appeared on more than 40 releases as a side-person. In 2000, she spent a year in North India on a Fulbright scholarship, immersing herself in the region’s classical, devotional, and folk music. Melford relocated to the West Coast in 2004, joining the faculty of the University of California, Berkeley as an associate professor of contemporary improvised music.

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.