Sylvia Hallett – violin and electronics
Danny Kingshill – cello
Gus Garside – double bass and electronics
The improvising electro-acoustic string trio Arc was formed in 1988 has performed since then with the same line up and has released three albums.
REMEMBERING (Uneasy Listening, 1992)
“A fantastic band who have assimilated much from contemporary classical music and have developed a sharp, intuitive common aesthetic”.. Resonance.
OUT OF AMBER (Slam, 1993)
“Indispensable for its profound beauty” Impro Jazz, France.
the pursuit of happiness (Emanem, 2009)
“teeming with subtle surprises” All About Jazz, New York.
“..creative immediacy in dialogue with historical echoes, a stimulating space where spontaneity and
evocation coincide”. The Wire.
The group’s music has been described as ‘dramatic’, ‘sinister’, ‘witty’ and even likened to ‘a satanic horror movie score’ (though the person who described us thus also said “it was the best thing I’ve ever seen at Sonic Imperfections”). Their music is at times influenced by classical music, contemporary composition, Eastern European folk and improvised music
Sylvia Hallett works as improviser and composer, often collaborating with theatre (RSC, Wonderful Beast) or dancers/choreographers (h2dance, Jacky Lansley, Miranda Tufnell),and Japanese silent film, accompanying screenings of Walk Cheerfully (Ozu) and A Page of Madness, in collaboration with shakuhachi player Clive Bell and benshi Tomoko Komura Recent musical collaborations include “Sweet Tooth”, a music-dance piece by Elaine Mitchener, alongside Jason Yarde and Mark Sanders. Musical contexts range from Cafe Oto (with David Toop, Rie Nakajima,) iklectik arts space (London Improvisers Orchestra, Catherine Pluygers, Adam Bohman), Hundred Years Gallery (Douglas Benford, Mark Brown, Chris Dowding) and The Old Dentist (the London Hardingfelelag, and poet Amy Cutler).
Danny Kingshill has worked as a player and musical director for Cyclops Theatre Company and the Amici dance company. He has wide experience as a workshop leader and is musical director at his local church and a choirmaster. He has been a member of improvising groups Boyg and In Sand and is a member of Tonbridge Philharmonic and the Medway quartet.
Gus Garside 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 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) and Collective Stories (a commission
in Quebec with Grand Groupe Régional d’Improvisation Libérée).
Phil Durrant/Martin Vishnick
Phil Durrant is a London based multi-instrumentalist, As a violinist (and member of the Butcher/Russell/Durrant trio), he was one of the key exponents of the “group voice approach” style of improvised music. In the late 90s, his trio with Radu Malfatti and Thomas Lehn represented a shift to a more “reductionist” approach.
As a modular synth player, Durrant performs regularly with the acoustic/electronic group Trio Sowari (with Bertrand Denzler and Burkhard Beins) and Mark Wastell’s The Seen. As a mandolinist, he has been performing regularly with guitarist Martin Vishnick whome he met at the twice monthly ‘Skronk’ events.
Martin, is a performer, composer, researcher and teacher. As a performer, concert tours have taken Martin all over the globe where he continues to promote his albums with radio and concert appearances; this includes varied Classical guitar and Electric guitar concerts and engagements. Commissions include music for the theatre, concert hall, film and media.
Martin is currently involved in post-doctoral research, propagating his work in the contemporary ‘sound art’ music scene, providing guitarists and composers with a sound repertory for compositions and improvisation based on extended techniques that comprise both developments of existing techniques and techniques invented by the author.