LMC 2005 by TRIO SOWARI [Burkhard Beins, Bertrand Denzler, Phil Durrant]

TRIO SOWARI
Burkhard Beins percussion, objects
Bertrand Denzler tenor saxophone
Phil Durrant software sampler, synth, treatments

Trio Sowari brings together three musicians who have developed a personal approach to their instrument.
Respectively based in London, Paris and Berlin, Phil Durrant, Bertrand Denzler and Burkhard Beins never cease to widen the scope of their research at the crossroads of different acoustic and electronic worlds. Beyond the rigour of their improvisations, their music is nourished by multiple influences and the countless collaborations they have with artists from all horizons.
Trio Sowari becomes a space in perpetual mutation where different currents of experimental music meet and in which asymmetrical concretions are formed, marking out an unpredictable topography.
Since 2004, Trio Sowari has released CDs on Potlatch and Mikroton, and has performed dozens of concerts in France, the UK, Germany, Switzerland, Belgium and Portugal.
https://www.burkhardbeins.de/groups/trio_sowari.html

"This is disciplined, focused music, the sound of people really thinking and playing, and close attention is consistently rewarded"
Clive Bell [The Wire Issue 261 November 2005]


27 Questions For A Start

To what degree is this kind of music experimental?
Are there preconceptions?
Is the group constellation already a compositional element?
Is this music only for musicians and specialists?
Is there any "popular" potential in this kind of music?
Would it be a good thing if it became popular?
Is music a language or something beyond?
Does our musical scene simply reproduce capitalistic structures?
To what degree is this kind of music improvised?
Is it all about learning to make decisions without being able to fully analyse the current situation (due to a lack of time and/or capacity)?
Does it swing?
Can this music help to stop global warming?
Is our musical scene merely a resort for failed existences and dysfunctional people?
Is it easier to play than not to play?
Is failure one of our main sources for progress?
Are there different levels of listening?
Should everything be possible at any time?
Do we listen differently to an improvisation than to a composition?
Does a recording turn an open process into a completed piece of work?
Do we have to file it under a generic term?
How can stasis be avoided?
Is an improvisation a composition (in progress)?
Is it possible to have no expectations?
Does music anticipate changes in society?
Is this a gender-, race-, education- and region-specific form of art?
Is it possible to have a non-hierarchical group interaction?
Do we need a dedicated space?

Burkhard Beins / Bertrand Denzler / Phil Durrant - Trio Sowari, 2007

since 1994

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