Saturday 8 October 2016, 8pm

Ecstatic Peace presents: MUSICS – Thurston Moore / John Russell (duo) + Phil Wachsmann (solo) + Thurston Moore & John Russell in conversation

No Longer Available

Special Ecstatic Peace event celebrating the recent publication of the collected issues of the essential unerground 70's magazine, 'Musics'.

Musics was published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation – providing a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture.

Thurston Moore

Thurston Moore needs little introduction - an inventive and instantly recognisable guitarist both in his solo work and as a member of Sonic Youth. Thurston has also been a long running participant in and champion of much of the music that we hold dear at Cafe OTO, as well as being responsible for some of the standout nights we've had here.

John Russell

“for Russell the fingerboard is apparently multiple. He finds new tones in the same place, new relationships in the same gesture. A second trip across the fingerboard is always a different excursion. The harmonic is a transparent sound: silence and ambient sound pass through it. It accounts for Russell’s unhurried pace and his sense of order, even when he’s playing fast: there’s simply so much going on.” - Stuart Broomer, Point of Departure 

John Russell got his first guitar in 1965 while living in Kent and began to play in and around London from 1971 onwards. An early involvement with the emerging free improvisation scene (from 1972) followed, seeing him play in such places as The Little Theatre Club, Ronnie Scott’s, The Institute of Contemporary Arts, The Musicians’ Co-Op and the London Musicians’ Collective. 

From 1974 his work extended into teaching, broadcasts (radio and television) and touring in the United Kingdom and, ever extensively, in other countries around the world . He has played with many of the world’s leading improvisers and his work can be heard on over 50 CDs. In 1981, he founded QUAQUA, a large bank of improvisers put together in different combinations for specific projects and, in 1991, he started MOPOMOSO which has become the UK’s longest running concert series featuring mainly improvised music. 

Philipp Wachsmann

Philipp Wachsmann, who came from a classical background in violin and in contemporary composition, has been occupied with the development of music and improvisation since 1970. For many years he ran workshops at the West Square Music studio that impacted on many young musicians.

He worked with others including significant groups of the time, Chamberpot, Balance and String Thing (with Ian Brighton and also with Marcio Mattos and Trevor Taylor in the latter), and Company. He was asked to join the Musician’s Co-operative (then in its last years), and was in the London Musicians Collective from its start.

He is an active participant in the Bead Record Label (started by Peter Cusack and Simon Mayo), which is still producing new music over 40 years later, managed by him and Mathew Hutchinson.

Regarded by many as an outstanding improviser of great invention, he has always been able to create new approaches within improvised music utilising acoustic and electronic sources. He considers himself to be “fortunate to have toured with Derek Bailey, Christine Jeffries, and Frank Perry in the 70’s, and more recently with Evan Parker’s Electro-acoustic Ensemble”. He can be heard on over 100 LP’s & CD’s - groups including, King Ubu, the LJCO, Iskra 1903, Stellari String Quartet, Duos with Paul Lytton (ECM and Bead), Lawrence Casserley, Matthew Hutchinson and Roger Turner. Most recently he has been working in the group RSIK with Michael Bunce (electronics and sound taken from painting by artist, Catherine Hope-Jones).

Currently he states that:-

“I am concerned with innovation, the violin and what it might do, with intent, perception and memory, with construction defining space, issues of continuity, whether communication needs to be prescriptive, the potential for the roles of listeners to be more active and nonetheless the multitudinal ways individuals hear and listen including the spontaneous non-intellectual.”