Reviews that mention Martine Altenburger

December 20, 2012

Ensemble X

Ensemble X
Red Toucan RT 9344

Insub Meta Orchestra

Archive #1

Insubordinations insubcd04

Reductionist to the extreme, especially for those accustomed to the distributed colors of a symphony orchestra or the rhythmic flexibility of big Jazz band, these European ensembles both take as their strategy the movement and integration of timbres. Despite the 15 members of Köln-based Ensemble X or the 35 plus [!] participants in Geneva-based INSUB META Orchestra’s initiative, the idea is for each group of improvisers to move and sound like one entity. Equally challenging, the concept is designed so that each must contribute his or her particular tonal qualities at controlled volume and within a specific dynamic range. That these discs are as striking as they are is a testament to both the ensemble members’ cooperative skills as it is to the guidance of tubaist Carl Ludwig Hübsch, Ensemble X’s initiator on one hand, and the five Insub Meta Orchestra members who lead the conduction on different tracks of that CD. MORE

April 16, 2012


Vers L’île Paresseuse
Creative Sources CS 182 CD

Frédéric Blondy & DJ Lenar

Play Mauricio Kagel’s Ludwig van

Bolt BR POP02

Departures from the concentrated minimalism that characterizes the Hubbub quintet, his longest lasting musical affiliation, Paris-based pianist Frédéderic Blondy is involved with much different strategies on these releases.

Still in the Free Music zone, Vers L’île Paresseuse is atmospheric and wedded to acoustic drones, with Blondy’s styling inside and outside the keyboard, is put to good use alongside the abrasive alto and soprano saxophone vibrations of Mulhouse’s Bertrand Gauguet and the alternately dissonant and legato stokes of Toulouse-based cellist Martine Altenburger. MORE

January 5, 2012

Lawrence D. “Butch” Morris

Nu Bop Records CD 09


Positions and Descriptions

Clean Feed CF 230 CD

By Ken Waxman

For the past 20-odd years as “Butch” Morris has demonstrated conduction: structuring free improvisation using a specific series of hand gestures, many improvising ensembles have been created in his its wake. Whether groups use or not signals developed by Morris to rearrange and sculpt notated and non-notated music, conduction is part of their inventory. As these releases demonstrate however, it depends on individual musicians’ skills for a performance to be fully satisfying. MORE