Shatner’s Bassoon + Bolide


Shatner’s Bassoon

“Partial to onstage sparks and explosions…”
Jez Nelson, BBC Jazz on 3

“the album release next year will be symptomatic of what freedom of thought and musical instinct can create”

John Toolan, Jazz Yorkshire

“the opening sentence of their press release – ‘Shatner’s Bassoon sound like nothing you have heard before’ – is (unusually) no exaggeration”
Chris Parker, London Jazz News

“Shatner’s Bassoon are funny without being silly and musically intricate without being introspective. Chris Morris would be proud.”
David Murphy



Bolide don’t actually sound like “six drunken tramps having a fight in a school music room cupboard” anymore, but it’d be a shame to let truth get in the way of a good simile. Here’s how they sound of late anyway…

Jacques Demierre + Anouck Genthon / Ingrid Plum / Gus Garside + Jacques Demierre

Note: this is an extra show in the Safehouse programme jointly presented with Uneasy Music, and is on at The Rosehill, Rose Hill Terrace, Brighton BN1 4JL

Tickets: £8, £6 concessions

Jacques Demierre & Anouck Genthon

The duo work of Jacques Demierre, voice, and Anouck Genthon, violin, is poetic and musical. They perform pieces influenced by the European experimental sound poetry and by the vocal and instrumental poetic touareg tradition. Both voice and violin draw on the poetic expression of speech and on the sung poetry with accompaniment by anzad (touareg one string fiddle from Niger).

Together they play a heterophonic soundscape of voice and strings, an intense and clear
interweaving verbal and musical stuff, where sounds, breaths, frictions, silences, vowels and consonants trace their own way.

Jacques Demierre is a pianist, composer and improviser. Whether acoustic or electro-acoustic, respectful of traditional music writing or embracing free improvisation, his experimentation feeds into music as well as sound poetry. It is all driven by the same constant search for consciousness of sound. Author of numerous pieces for ensemble or voice, he also explores the power of everyday noises. Extending the possibilities of the piano, he also interrogates the ways in which it can approach the sphere of language.

Anouck Genthon is a French violinist improviser and ethnomusicologist based in Geneva, Switzerland. Using her instrument, the violin, in both traditional and extended techniques, her work delves deeply into her own improvised language through sound experience. She is particularly interested in the process of listening, focusing on the listening experience be it with an electro- acoustic set up or while acting out a listening walk.

Ingrid Plum

Gorgeously atmospheric vocal techniques woven around field recordings and electronics – The Guardian

Ingrid Plum uses her voice with extended technique, improvisation, field recordings and electronics, to create layered soundscapes, spoken word and songs. Having performed and exhibited installation sound art and visual art since 2002, she creates work that sits between sound art, improvisation, multi-media installation, neo-classical and contemporary Nordic folk music. Incorporating her research into extended technique and folk traditions with field recordings and site-specific work Plum’s performances developed an improvised spatial responsiveness before going on to study directly with Meredith Monk.

Plum formed the free improv group Susurrations with Legalliene in 2011 and in 2012 she
launched Plum Records and released her solo EP The Tunnel Recordings followed in 2015 by her debut album Plangent.  In 2016 this was followed by Everything Is Becoming Science Fiction –  a collaboration with Graham Dunning, Ian Stonehouse and John Harries and Unsung, a collection of early sound works from installations and films. In 2016 she formed PlumPyneThornton, a free improv trio with Andy Pyne (Map 71) and composer/pianist/writer Timothy Thornton and joined The Larsens all female noise choir as a founding member. Plum is a visiting lecturer in Interdisciplinary Practice,
Sound and Media at Goldsmiths University Of London and the University of Brighton. She is the founder of Bechdel, a DIY event platform for female experimental/noise/spoken word/improv/free folk/free jazz/folk/Neo classical acts and is based between the UK and Denmark. Her current project Taut features scores by artists including Graham Dunning, Helen Frosi, Áine O’Dwyer, Tania Chen, Stephan Barrett, Iris Garrelfs, Jez Riley French, Nick Hudson, Kev Nickells, Bobby Barry, Lisa Busby, Lia Mazzari, Greta Pistacecci and more.


Gus Garside

Gus has worked in a variety of musical settings – jazz, contemporary music, rock, cabaret, dance, theatre and, most importantly, improvised music where he has performed with
many leading players. As well as playing in many one off improvising or contemporary music situations he regularly performs in Arc (a string trio with Sylvia Hallett and Danny Kingshill), The Static Memories ( an electronic duo with Dan Powell) and the West Hill Blast Quartet, (a free jazz quartet with Ron Caines, Dan Spicer and Andy Pyne) . He also creates structured improvisational compositions including The Star Field, The Sleepwalkers (featuring 10 of the leading improvising string players in the UK –including Alison Blunt, Benedict Taylor, Marcio Mattos and David Leahy) and Collective Stories (a commission in Quebec with Grand Groupe Régional d’Improvisation Libérée).

Ens Ekt

Adam Pultz Melbye – double bass
Simon Rose – baritone saxophone
Paul Stapleton – bonsai sound sculpture (BoSS)

Ens Ekt features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) placed in dialogue with the circular breathed multiphonics and harmonic textures of Simon Rose (English born, Berlin-based) and the resonant gestural and spectrally focused playing of Adam Pultz Melbye (Danish born, Berlin-based). The group explores emergent timbral, dynamic and social musical structures through improvisation. The trio configuration offers an opportunity to explore new modes of interactions in part facilitated by purpose built technologies that intertwine metallic, wooden and electronic resonances in real time.

+ Support TBA

+ Wildcard Quartet

Tony Bevan / Paul Obermayer / Dominic Lash / Phillip Marks

Tony Bevan : Soprano, Tenor and Bass Saxophones, flute
Dominic Lash : Double Bass
Phillip Marks : Drums
Paul Obermayer : Electronics

A meeting of the ecstatic jazz of Sunny Murray saxophonist Tony Bevan and the industrial rumble of Furt/Barks Phillip Marks and Paul Obermayer, with Steve Reid bassist Dominic Lash holding the groove in the middle.  “Like a Sonny Rollins Trio in a tumble-dryer, or Maceo Parker with Kononos No. 1.”

Tony Bevan started playing soprano saxophone in the early 1970s, inspired by Captain Beefheart and Terry Riley. Lol Coxhill gave him his first lesson and a sense of the instrument’s potential. Subsequently Bevan has also taken up tenor and bass saxophones. In 1988 he played with Derek Bailey’s Company and issued his first CD on Incus. Bevan now runs his own Foghorn label, which has issued recordings of his work with John Edwards in Sunny Murray’s European trio and performances by Bruise, the quintet Bevan has run with Edwards, Mark Sanders, Orphy Robinson and Ashley Wales.

Dominic Lash is an Bristol based double bassist. Important long-term musical collaborators include Angharad Davies, Bruno Guastalla, Alexander Hawkins, Tim Hill, Steve Noble, Samantha Rebello, Pat Thomas, Philipp Wachsmann and Alex Ward. He has also performed with saxophonists John Butcher and Evan Parker and violinist Tony Conrad.

Phillip Marks and Paul Obermayer have collaborated for nearly twenty years in the electro-acoustic groove band bark!