Safehouse Bradford is a monthly experimental, collective improvisation held at Fuse Art space. The name and format of this event comes from a long running Safehouse collective in Brighton. However, their Safehouse is for Musicians only were as Bradford events include practitioners from a multi disciplinary backgrounds.
With this in mind the following text has been pulled directly from Safehouse Brighton’s website.
Safehouse is a regular open session, which is open to all musicians of all levels to improvise, sonically, in a conversational way. We have been using a format in which participants are picked out to be put into a small group that improvises for 10 minutes or so, while the remaining musicians act as audience, then the next group is formed and so on.
What happens at an Open Session?
How It Works
Best thing is to come along and introduce yourself at the door. If you want to just check it out before committing to jumping in, that’s fine. Otherwise, if you are happy to dive in, then your name will be put in a hat. Then, at some point you’ll be called upon to join a small group (usually 3or4 people) and you’ll all just start making some sounds or actions and see what happens.
There may or may not be any rhythm, tonal centre or structure to the pieces played. The music is free in that sense. No premeditated ideas or constrictions. Any sound is valid. It is a sonic conversation, in which players respond to each other as spontaneously as possible.
Pieces tend to last ten minutes or so and, ideally, find a natural ending. Hopefully, everyone that’s interested in sitting in will get at least a couple of turns through the night. Those not playing at any given time are the ever-supportive audience.
All manner of instrumentation is welcome (acoustic, electric, electronic, voice). We have a PA for vocalists, but electric instrumentalists usually bring their own small combo amps.
Due to the acoustics of the room, we have been trying an acoustic aesthetic, meaning that we strive to keep the volume within the range of the quietest instrument involved in the piece. So, for example, if there is an acoustic violin in an improv with two saxophones and an electric guitar, then instead of trying to put a microphone on the violin, we would prefer the saxes and guitar remain sensitive to the limits of the violin and play accordingly, rather than drown it out with volume. Having said that, if all the instruments are capable of playing loud, then crank it up!
Those wishing to listen can show up at anytime. Those wishing to play should arrive as close to 7pm as possible.