Michael Francis Duch
Goldsmiths
An extended group improvisation and compositions by Lely, Sarah Hughes, and Jurg Frey, subtle and beautiful performances by Angharad Davies (violin), Rhodri Davies (electric harp), Michael Duch (bass), Lina Lapelyte (violin), John Lely (objects & electronics) & John Tilbury (piano).
Aigéan
First solo album from bass player extraordinaire Michael Francis Duch, exploring 1960’s experimental works as vehicles for contemporary improvisation. Duch is a highly generous musician and improvisor. This is equally audible as he moves in the outskirts of reductionism, flirts with noise, engages in the domain of contemporary composition or happily endulges in the joys of free jazz. Mixing a keen and exploring sense of sound with firm and insisting formal thinking, he approaches his bass …
Cardew works 1960-70
2024 stock. Cornelius Cardew's music of the Sixties is arguably from his most creative and experimental period as a composer, beginning with Autumn 60 and ending with the last paragraphs of The Great Learning in 1970. This decade can be divided into two parts, where the first half focuses on indeterminate music and the latter sees a growing emphasis on improvisation. Treatise functions as a bridge between these two periods, as it contains elements of both. This recording is a document of this du…
Musculus Trapezius
An epic performance captured pristine, unfurling its massive limbs patiently and cannily over the course of seventy-plus minutes. Conrad mingles amongst his trusted wood-and-steel sidekicks, engaged in both age-old conversations and inspired new inquisitions; Yeh bookends his passive/aggressive behaviour on violin with spare piano incantations; Duchs acts as a ghostly anchor, casting formidable binding and deft velocity. Yes, the drones do flow freely, but these reliable horizons fracture into s…