Art gallery and performance space in Bradford (UK) hosting exhibitions, concerts, film screenings and other events.

Matana Roberts & Kelly Jayne Jones / Paul Hession

CONCERT / SUNDAY 20TH MAY, 20:00 / £8.00

TICKETS: http://skiddle.com/e/13145489

An exciting new live collaboration between internationally renowned US composer, Matana Roberts​ and British sound artist/improviser Kelly Jayne Jones. ​The first in a series of special commissions produced by OUTLANDS​; a new national experimental music touring network.

A very special series of sonic episodes bringing together US mixed-media composer/saxophonist Matana Roberts​ & UK improviser and flautist Kelly Jayne Jones​: two artists from disparate backgrounds, finding affinity in practices charged by fiercely personal philosophies on sound and its potential within a patchwork of genre, texture and meaning. Roberts and Jones will weave their own approaches into live collaborative works informed by deeply expressive playing, tactile electro-acoustic interplay and a broader shared politics of resistance/defiance.

Matana Roberts​ is an internationally renowned composer, band leader, saxophonist, sound experimentalist and mixed-media practitioner. Roberts works in many contexts and mediums, including improvisation, dance, poetry, and theatre, and has released a diverse body of solo and ensemble work under her own name on Constellation Records and Central Control over the past decade. She is perhaps best known for her acclaimed Coin Coin project, a multi-chapter work of “panoramic sound quilting” that aims to expose the mystical roots and channel the intuitive spirit-raising traditions of American creative expression while maintaining a deep and substantive engagement with narrativity, history, community and political expression within improvisatory musical structures. Constellation began documenting the Coin Coin project in 2011 and has released the first three of a projected twelve album-length chapters to date. Kelly Jayne Jones ​makes use of varying combinations of prepared recordings, text, rocks, found sounds and flute. Her work beckons a tussle with uncertainty, inviting exposure and vulnerability in performance, chasing experiences that open our chasms within, without restraint. Searching for humble principles of growth; physis; sound, connecting with others in the same space/moment, customary experimental play, with threads and beads of improvisation and interactivity. KJJ has had residencies at Arnolfini in Bristol UK and Kunstalle Bergen, Norway, and has produced commissioned works for Haris Epaminonda at dOCUMENTA13, Tate Modern, ICA London, Schirn Frankfurt, Point Centre Nicosia. She has performed, solo and with part wild horses mane on both sides, at CCA Glasgow, Trieze Gallery Paris, Borealis Festival, Tectonics Reykjavik, Hangar Bicocca in Milan and at Huddersfield Contemporary Music Festival.


Paul Hession was born in Leeds in 1956. He took up drumming at the age of 15 and since then has played and broadcast in many European & Scandinavian countries, as well as Argentina, Mexico, Cuba, the USA & Canada. He has played with many of the major figures on the free music scene, such as Peter Brötzmann, Derek Bailey, Evan Parker, Lol Coxhill, Sunny Murray, Marshall Allen, Frode Gjerstad, Peter Kowald, Joe McPhee, Borah Bergman, Otomo Yoshihide & his old friends Alan Wilkinson, Simon Fell, Hans Peter Hiby, and Mick Beck. Collaborators from a different scene are Squarepusher and dj/producer Paul Woolford. He is known to relish the interaction of collective music-making, but also responds to the challenge of solo performance. His first solo concerts were in Leeds and London in the early 1980's (one London performance being recorded by The National Sound Archive for The British Library). Hession has continued working as a soloist since then, releasing a CDR titled Giant Soft Drum Set in 1998. The music on that album was recorded in 1986 and 1996, and was described thus:

'His touch is super-sensitive, but girded by a steely understanding of metrical logic. He entertains cross-rhythms and complexities with a benign sense of speculation far removed from the ostentatious assault of drum clinics. The pleasure Hession derives from his ability to bend, fondle and overlap time is palpable. This is a subtle and powerful manifesto from a musician whose drumming connects Free Improvisation back to Jazz, yet who organises his music like a composer.'
Hi-Fi News & Record Review.

http://www.hessiondrum.com/

This concert and tour has been commissioned by OUTLANDS, produced by Qu Junktions, and supported by Arts Council England and Esmée Fairbairn Foundation. For more information about OUTLANDS visit: www.outlands.network