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128 Chapter 6 group)56 â African and other âworldâ musics (Mike Majkowski, 30-year-old Belgian vibraphonist Els Vandeweyer)57 â Popular music (many electronic musicians also DJ-ed, as did 36-year-old Australian bassist Clayton Thomas, who had aspirations to make a hiphop record). To conclude this section, however, and representing one of the largest and most varied aesthetic and social networks, and possibly the sceneâs most poly-musical performer, a short portrait of Australian drummer and percussionist Steve Heather serves to exemplify not only the diversity of styles and approaches that surrounded and influenced the Improvised Music scene, but also the number of musics and voices that it was possible for one musician to practice, and have. In his mid-40s, Heatherâs activities ranged from jazz/post-free-jazz improvising (Booklet, who would readily throw in a Duke Ellington number or Jimi Hendrix song during their improvisations, or Mrs Conception, which began life as a jazz standards project, but, more recently, came to include abstract and sound/noise-based materials), to dance and theatre projects,58 and pop/rock-related bands such as The Still and TUB (who played Improvised Music using the materials of 1970s stadium rock).59 Formerly living in Amsterdam, Heather was one of the founders of Kraakgeluiden (an electroacoustic/improvised/noise series that took place every Monday night for around 6 years in an Amsterdam squat),60 and had played a considerable amount of part-composed/part-improvised Neue Musik in composer Alison Isadoraâs group, 56 The Wandelweiser group was an international collective of composers (incorporating a record label and publishing house) including Michael Pisaro, Antoine Beugher, Manfred Werder, Radu Malfatti and Peter Ablinger. The group was concerned with creating composed works which left many aspects to be realised by their performers in real-time, and the group had many interests in common with Reductionist and Post-Reductionist improvisers (silences, subtle gradations of extremely quiet dynamics, working with an extremely limited set of musical materials, the influence of John Cage), as well as a considerable social overlap [Pisaro, 2009]. Wandelweiser performers also arranged concerts in venues used for Improvised Music, such as Ausland and O Tannenbaum. 57 Majkowski drew an interesting comparison between playing Durational Improvised Music and African music, âI can relate to it... because a lot of this music that I have been playing recently with the bass guitar, is like repeating a groove, and somehow thereâs no start or no end to it... from the beginning itâs already happening... like a monumental path. And I also like doing that with my solo stuff, like tremolo for 15 minutes, just this monumental kind of stripâ (see p. 216 for more on Majkowskiâs solo output). 58 Heather also had a performance group with his wife Siegmar Zacharias (they have created rock operas and musicals together), as well as directing his own performance pieces, including (on different occasions) snare drums with confetti and indoor fireworks. In such cases, Heather often operated under the guise of his alter ego, Stiff Leather. 59 Heather described how in TUB (The Understated Brown), âGenerally we play [song] structures. But the material weâve chosen is basically 70s kind-of stadium rock material. But in the end the methods of improvising are the same, just that the materials are different. [...] Thereâs a whole kind of gestural thing thatâs really different, but thereâs the same idea of counterpoint and developing things, creating the sound. Itâs all very, for me, similar to playing in other musics, but the material is very different. So weâve worked on all these songs, doing covers of Supertramp and Boston [etc.], but then we take all that material and then go, âOK, letâs just play it, improvise with itâ.â 60 Kraakgeluiden was co-founded with flautist/composer Anne LeBerge and pianist/composer Cor Fuhler.