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Tuesday, 22 November 2016

Spike Orchestra and Percy Pursglove @Huddersfield Contemporary Music Fest.

 Spike Orchestra
Percy Pursglove

Huddersfield Contemporary Music fest always has jazz elements and this year is no exception. Here's a couple of interesting gigs for the jazz improv inclined!

Friday 25 Nov The Spike Orchestra
Bates Mill Blending Shed, 10pm
Tickets £12 (£9 concession / online)

Sam Eastmond trumpet, Nikki Franklin voice, Mike Wilkins reeds, James Arben reeds, Paul Booth reeds, Stewart Curtis reeds, Mick Foster reeds, James Davison trumpet, Adam Chatterton trumpet, George Hogg trumpet, Ben Greenslade-Stanton trombone, Ashley Slater trombone, Dave Powell tuba, Moss Freed guitar, Mike Guy accordion, Elliot Galvin piano, Otto Willberg bass, Chris Nickolls drums

The Spike Orchestra makes its HCMF debut with a big band realisation of John Zorn’s monumental and legendary Cerberus: Masada Book 2 project.  The music you will hear is drawn from John Zorn’s Masada Book 2 which comprises over 300 tunes composed in an intense three month period in downtown New York City in 2004. The subsequent recordings initiated by Zorn to date total 29 albums, of which ours is number 26. Cerebus is the first big band entry into the series and one of only a few from the scattered downtown diaspora working outside New York City.

Sat 26 Nov 4pm Percy Pursglove: Tender Buttons:Objects, Food, Rooms
Huddersfield Town Hall, 4pm
Tickets £12 (£9 concession / online)
Percy Pursglove trumpet,Gemma King soprano, Suzie Purkis alto, Ashley Turnell tenor, Adrian Horsewood bass, Thomas Strønen drums,

Following his HCMF debut in 2014, performing alongside Evan Parker, Percy Pursglove returns to Huddersfield – joined by Norwegian drummer Thomas Strønen – with the world premiere of  Gertrude Stein’s groundbreaking stream of consciousness work Tender Buttons: Objects, Food, Rooms I (1914) has been heralded as ‘a masterpiece of verbal cubism’. Her unique writing style challenges conventional alignments of words addressing instead their underlying sound and rhythm: ‘By departing from conventional meaning, grammar and syntax, she attempted to capture ‘moments of consciousness,’ independent of time and memory.’

This contemporary interpretation of Stein’s work is a cross-disciplinary symbiosis of composition and improvisation, setting her unorthodox text for a four piece vocal ensemble and improvisers.

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