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Samuel Hayes
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Samuel Hayes This album is very intriguing to me because it makes great use of the spaces between the notes and seems so unrushed and natural. There is clearly a great vibe between these guys as they seem to give each other room to operate and still respond and react to each other real-time. Terrific sound quality and very natural tonally. A+++
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    It is very common today to see musicians from diverse musical and cultural backgrounds converging at some geographical point to improvise together. Collective improvisation is an interactive art. The responses among the improvisers are individual and subjective, but the whole result implies a kind of inter-subjectivity. Subjectivities are historical and embodied. They are configured through successive experiences within concrete contexts and are embodied in the sense that subjectivity can’t exist outside a body. The detractors of improvisation claim that an art based on historicity, subjectivity, and the body can only lead the improviser to known outcomes, a repetition of musical ideas coming from a known, historical repertoire, with no room for the “unforeseeable.” For these detractors the use of more impersonal procedures will allow the “unforeseeable” to emerge rather than improvisation. Contrary to this, I claim that only embodied subjectivities immersed in particular worlds, and their intimate involvement with places, spaces and environments, can produce the “unforeseeable.” In this CD you will listen to Ramón López, an outstanding Spanish percussionist living in France and Guillermo Gregorio, an American clarinetist born in Argentina living in New York who converged in Krakow to improvise with a “local” bass-acoustic guitar virtuoso and iconic figure, Rafał Mazur. The three musicians met in Krakow to play together for the first time. Diversity and subjective interaction are present here indeed!
    Music evolves in time, but improvised music is produced in real time. It also evanesces in real time! Our session was obviously recorded. So, you have in your hands only a trace of something that existed ephemerally. However, the important thing about recorded improvisations is that they still can activate the “unforeseeable”!
    (Guillermo Gregorio)

    Guillermo Gregorio – clarinet
    Rafał Mazur – acoustic bass guitar
    Ramon Lopez – drums

    All music by Guillermo Gregorio, Rafał Mazur and Ramon Lopez. Tracks on this record are in chronological order of recording.
    Recorded June 1st at B&B Studio Niepołomice, Poland by Rafał Drewniany. Mixed and mastered by Rafał Drewniany dtsstudio.pl
    Rafał Mazur plays acoustic bass guitar build by Jerzy Wysocki.

    Includes unlimited streaming of Wandering The Sound via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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    Get all 52 Fundacja Słuchaj releases available on Bandcamp and save 40%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of One Night At The Joan Miró Foundation, DIÁLOGOS, X-RAYED (2CD), Four Seasonings, Cowboy Transfiguration, Sumpflegende, Nirguna, Mind Creature Sound Dasein, and 44 more. , and , .

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about

It is very common today to see musicians from diverse musical and cultural backgrounds converging at some geographical point to improvise together. Collective improvisation is an interactive art. The responses among the improvisers are individual and subjective, but the whole result implies a kind of inter-subjectivity. Subjectivities are historical and embodied. They are configured through successive experiences within concrete contexts and are embodied in the sense that subjectivity can’t exist outside a body. The detractors of improvisation claim that an art based on historicity, subjectivity, and the body can only lead the improviser to known outcomes, a repetition of musical ideas coming from a known, historical repertoire, with no room for the “unforeseeable.” For these detractors the use of more impersonal procedures will allow the “unforeseeable” to emerge rather than improvisation. Contrary to this, I claim that only embodied subjectivities immersed in particular worlds, and their intimate involvement with places, spaces and environments, can produce the “unforeseeable.” In this CD you will listen to Ramón López, an outstanding Spanish percussionist living in France and Guillermo Gregorio, an American clarinetist born in Argentina living in New York who converged in Krakow to improvise with a “local” bass-acoustic guitar virtuoso and iconic figure, Rafał Mazur. The three musicians met in Krakow to play together for the first time. Diversity and subjective interaction are present here indeed!
Music evolves in time, but improvised music is produced in real time. It also evanesces in real time! Our session was obviously recorded. So, you have in your hands only a trace of something that existed ephemerally. However, the important thing about recorded improvisations is that they still can activate the “unforeseeable”!

credits

released June 10, 2018

Guillermo Gregorio – clarinet
Rafał Mazur – acoustic bass guitar
Ramon Lopez – drums

All music by Guillermo Gregorio, Rafał Mazur and Ramon Lopez. Tracks on this record are in chronological order of recording.
Recorded June 1st at B&B Studio Niepołomice, Poland by Rafał Drewniany. Mixed and mastered by Rafał Drewniany dtsstudio.pl
Rafał Mazur plays acoustic bass guitar build by Jerzy Wysocki.
Photos: (R.Mazur, R. Lopez) Krzysztof Machowina, (Guillermo Gregorio) Jeffrey Shurdut
Cover Design: Małgorzata Lipińska
Executive Producer: Maciej Karłowski

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