Im neuen Projekt des Kölner Musikers Matthias Mainz begegnet der kanadische Sound-Poet Chris Tonelli der Klangkünstlerin Echo Ho und dem frei improvisierenden Trio um Mainz, den Kontrabassisten Christian Ramon und den Schlagzeuger Peter Kahlenborn.

Chris Tonelli montiert Versatzstücke eigener Texte und improvisiert dabei virtuos mit Sprache, Lauten und Sprachgeräuschen. Die Sprachklang-Improvisationen Tonellis sind hier eingebettet in den Klangkosmos eines Jazzpianotrios, das frei mit Assoziation an den frei improvisierten Jazz der späten 60er und früheren 70er Jahr und mit deutlichen Öffnungen an zeitgenössische Musik agiert. Die chinesisch-deutsche Medienkünstlerin Echo Ho kontrastiert die akustischen Improvisationen mit der „Slow Qin“, ihrer elektronischen Adaption des klassischen chinesischen Saiteninstruments, und trägt abstrakte elektronische Klangereignisse und Minimalistisches bis Noisiges in die hybride Besetzung hinein.

Anfang der 2010er Jahre collagierte Tonelli Texfundstücke in Matritzen, aus denen er Material in seinen Performances generierte. “Kim Jong Un made a pencil drawing“ und „With 50 Million Euros“ schlagen inhaltliche den Bogen von Manipulation und Ausbeutung bis zur Ökologie. In den Lautperformances oszillieren Inhaltlichkeit und Klanglichkeit miteinander und so sehr die Texte als gegenwartskritische Reflexionen gehört werden können, so viel Humor verbirgt sich in Ihnen und im Spiel mit der „Erotik von Silbenketten, die unter dem Gaumenzäpfchen, über die Zunge und über die Lippen vorbeischlüpfen“.

Chris Tonelli – Extended Voice, Text / Echo Ho – Slow Qin/Live Electronics

Matthias Mainz – Piano
 / Christian Ramond – Kontrabass / Peter Kahlenborn – Schlagzeug

Mittwoch, 7. September 2022
, 20:00h
Salon de Jazz
, Severinskloster 3A
50678 Köln

Das Projekt wurde möglich durch die Unterstützung und die Unterstützung und den freundlichen Impuls des „Aktivierungsprogramm Visitenkarten“ des Landesmusikrates NRW aus Mitteln des Ministeriums für Kultur und Wissenschaft des Landes Nordrhein-Westfalen. Gefördert vom Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen

Photos: Echo Ho: Katharina Kemme/Ben J. Riepe Schule des Erlebens; Peter Kahlenborn: Gerhard Richter; Chris Tonelli: Mark-Steffen Göwecke; Christian Ramond: Gerhard Richter; Matthias Mainz: Anil Eraslan

2012 Sep 8

Solo Oslo - 300acting spaces/Ultima Festival

Probably my final Soloperformance on processed quartertone-trumpet within a series of concerts at Ultima Festival, Oslo. Alex Gunia had curated three electro-acoustic concerts around acollaboration with Hans-Joachim Roedelius as part of Gunias artistic-research project 300acting spaces. The trumpetsound, noises and voices are picked up through a condenser microphone inside the mouthpiece-cup, which I developed with Ansgar Nake in Cologne to be able to amplify the little small noises and resonances of articulations, tonguings and consonants.

2001 - 2008

Realtime Research - Sound Works

While realtime research was founded as a transdisciplinary performing arts collective I also kept a focus on music and sound. Electro-acoustic improvisation and the creation of a hybrid setup for trumpet and electronics led to a series of concerts, studio work and workshops. I started to collaborate with super-collider expert Alberto de Campo, soon Hannes Hoelzl and Joker Nies became the backbone of these collaborations. The processes of programming and the formation of a minimalistic improvisation technic influenced each other reciprocally. In 2006 Dieter Gaertner had built a custom-made quartertone valve for me - at that time I wasn`t interested in alternate tuning systems or maqams - I just wanted to be able to improvise at a most minimalistic level and thought of quarter tones to be below or beyond the formation of average musical structures. I also developed extended technics utilising breathing sounds, multiphonics, circular breathing or pedal tones searching as aquivalents to the electro-acoustic and electronic sounds.

2007 - 2009

small, low solo and so/quiet noise

2005 - 2006

einsein

2004/2005

dreamachines - everything is deeply intertwingled

Matthias Mainz - conception, text, quartertone-trumpet, voice, processing
Luis Negron van Grieken - video-concept, video processing, editing
Hannes Hölzl - supercollider programming, surroundcontrol
Alexander Peterhaensel - drums, processing
Joker Nies - raw electronics, recording
Anna Schütze - voice

Nov 18/19 2004 – Kunsthaus Rhenania, Cologne
Apr 21/22 – C.U.B.A. Münster w Matthias Neuenhofer
Jul 9 2005 – BWA Gallery, Bielsko Biala, Polen w Matthias Neuenhofer/Stan LaFleur

Daniel Burkhardt – visual architecture, live-video
Matthias Mainz – conception, text, quartertone trumpet, electronics video, voice
Alexander Peterhaensel – conception, sound architecture, live electronics, copy
Joker Nies – raw electronics
Luis Negron van Grieken – video programming, live video assistence
Hannes Hölzl - supercollider programming

Alberto de Campo - supercollider programming
Natascha Pederson - voice
Vincent Abbate - voice

Tony Mestrovic - camera
Mateusz Parzonka - camera
Alexander Peterhaensel - video post production

June 4th 2004 - DEMEX, Zabrze, Poland

2004

electronic post jazz

Live in Zabrze


Matthias Mainz - Trumpet, EMS Synthesizer

Boris Polonski - Electronics

Nils Tegen - Drums, Fender Rhodes

Chris Dahlgren - Bass, Electric Bass

Alexander Peterhaensel - Drums, Electronics

Daniel Burkhardt - Video

Alexander Peterhaensel - Editing

Joker Nies - Recording

1oth Upper Silesian Jaz! Festival - Jaz Festiwal Muzyki Improwizowanej

2003 Nov 15 - Dec 23

Skullhop - The Danse Macabre

Music for a videoloop as part of Matthias Groebels solo-exhibition of media-mash-up paintings of the remnents of St. ursulas 11.000 virgins and dinosaurs from Tervuren. Improvised extended trumpet technics on a loop of breath-pushes with some jazz-licks on top, all organised by the careful editing and noisy drum programming of Alexander Peterhaensel.

“The danse macabre is grim and festive. Like the related motifs of memento mori and the triumph of the dead, it began as a form of religious expression disengaged from biblical stories. In the 14th century, as the black plague spread across Europe, it gained widespread popularity. In those days, there was a thin line between fervent entreaties for transcendent relief and the no less enthusiastic celebration of the fleeting moments of worldly life. Skeletons, merrily engaged in all aspects of life from dancing and drinking to fornication, were the ultimate symbols of the danse’s ambiguity, and were soon adopted as its mascot. Many artists have found the danse macabre to be a useful expression of ambiguity and contradiction. In turn, this has often made it a convenient disguise for sharp critiques of society.

Collective Memories is Matthias Groebel’s second one-man show at Universal Concepts Unlimited in New York. The gallery exhibition will run from 15 November to 23 December 2003. Collective Memories Online complements the exhibit by presenting background material to Groebel’s work, including details of his primary sources and the paintings’ thematic backdrop. Much of Collective Memories comes from the tradition of the danse macabre, and in particular its use by three artists: Simone Baschenis, James Ensor and the Grateful Dead. The paintings were created from Groebel’s video footage of the church of St Ursula in Cologne, Germany and the Royal Museum for Central Africa in Teruven, Belgium. Both places were built to preserve memories. St. Ursula is homage to 11.001 martyred virgins. The museum showcases Central African art.”

Matthias Mainz - trumpet, sounds, composition
Alexander Peterhaensel - editing, drum programming
Joker Nies - recording (extended trumpet)
Alex Gunia, Thomas Lieven - recording (jazz solo)

Collective Memories, Universal Concepts Unlimited, New York, Nov 15 - Dec 23 2003