more info: 13jahre.klingt.org
check out this new piece with:
3 awesome performers, a barisax player turned pseudo performer, 3 double sided panels, a cymbal (played by the barisax player turned pseudo performer), a bell (done by the same dude), a blue light, a bow and an arrow.
sounds great, right? It’s part of this year’s Tanztage at Sophiensäle, curated by the ever brilliant Peter Pleyer.
check it or miss it. (you’ll prolly miss it cuz it’s already sold out. also most of you don’t live in Berlin. Thanks for your patience though.) Either way, hope this finds you well. Happy New Year and hope to see you soon, somewhere down the road. Cheers, Boris
Monday January 7 and Tuesday January 8, 2013 @ 8:30PM
Sophien Säle, Sophienstraße 18, 10178 Berlin-Mitte
gepresste Hände erzeugen Druck
Alles ist erlaubt.
Alles ist getan.
Bring ein Buch und schlag es auf.
Der Spielplatz ist gewaltig.
Die Variationen unendlich.
Teile das Archiv.
Geschichte oder Geschichten?
Spielzeuge sind herausgesucht, Variationen dekliniert.
3 Flächen und 4 Menschen.
Der Rahmen, wo wir überlappen.
CHOREOGRAFIE Julian Weber
TANZ, PERFORMANCE Claudia Tomasi, Cinira Macedo, Boris Hauf, Julian Weber
MUSIK Boris Hauf
BÜHNENBILD Julian Weber
Gefördert durch Tanztage Berlin / SOPHIENSÆLE, Dank an alle.
oh yeah… also performing: a spot light, a skeleton, nail polish, newspaper and spray paint.
it’s a party for your eyes, ears, nose and other stuff.
“[…] On Next Delusion by Berlin-based saxophonist Boris Hauf, […] forms […] an even more unconventional lineup. There can be few instrumentations that are completely novel, but three horns matched with three drumsets recalls few precedents. Waxed on one of the German’s regular trips to Chicago, Hauf has assembled a talented crew, though their abilities are almost totally sublimated to the leader’s offbeat conceptions.
For much of the time, the three percussionists (Frank Rosaly, Steven Hess and Michael Hartman) are so restrained as to be subliminal and the horns (Keefe Jackson, alongside Stein and Hauf) aren’t much more demonstrative. It’s largely impossible to tell who does what in the four tracks, which defy categorization in their execution of Hauf’s austere and rigorous charts. Dissonant unisons and subdued drones characterize the horn lines, which often sound on a parallel but unconnected track to the rumbling massed drums. Ultimately it’s a curiosity that sounds like nothing else.”
The New York City Jazz Record
NEW YORK’s ONLY HOMEGROWN JAZZ GAZETTE
original review in croation here.
google translate below…>
Boris Hauf Chicago Sextet ‘Next Delusion’ – sound set out in the iris of the eye
Boris Hauf Sextet ‘Next Delusion’
Haufov Chicago sextet Next Delusion three wind players and three drummers, in the first series bass clarinetist Jason Stein , and saxophonists Hauf (tenor, baritone) and Keefe Jackson (tenor, bass clarinet), while in the second Frank Rosaly , Michael Hartmann and Steven Hess , respectively drummers.
Connection Chicago and Berlin is not sporadic, because at the time before it was Jeb Bishop left the electric guitar to be devoted entirely to the trombone, Art Institute of Chicago has organized a major event dedicated tuvanskoj singer Sainkho Namtchylak inhabited in Vienna, where the Chicago quartet performing guitarists Werner Daefeldeckera . And judging by the recordings are from 1991. year on YouTube, it seems that it was Boris Taba. Ahead Viennese moving to Berlin at the beginning of the millennium Hauf mapped sound EAI label Durian, Mego, Grave and Extraplatte, along with colleagues from the collectiveKlingt . Electrification of experience gained in the sound texture group Efzeg with Saks, synthesizers and computer harnessed to work with the American trio TV Pow, lap-gunner, in which in addition to a Hartmann opskurnija names.
Sextet moving aesthetic minimalist sound, even before the reductionist, in the introductory “Gregory Grant Machine” frequency point are established from the rainy strikes by cymbals and mikrovizatorskih winds that slowly heat up the intoxicating drone collective timbre spreading aura solar orgasm. In “Eighteen Ghost Roads” suggestive atmosphere is indicated akordnim voicinzima three winds, followed by the massive crowds refined drumming.
In polikromatskoj “Fame and Riches” idea is enshrined in the iris of the eye with a provocative voice, saxophone playing a double role, the soloist and the first one to vote almost chamber orchestra. And although they are invasive in “Wayward Lanes”, the listener is also not required to take care of every detail.Crawl under his skin – that! – Leaving him at a distance to the sound discretion cope.
(Clean Feed, 2012).
Type Jeraj Sundays from 22:00 to 24:00 hours editing and hosting the show ‘Hearing deception’ on Radio 808th
Hi all, Due to it’s general AWESOMENESS we decided to add on another show of JeeAe’s new piece on the 17th. Check it.
Saturday, December 15 2012, 8:30PM
Monday, December 17 2012, 7:00PM
Work in Progress (40min) – 작업이 진행 중
Concept and Performance: Jee-Ae Lim – 깜짝 – 애 임
Sound: Boris Hauf – 보리스 Hauf
The images exist in the retrospective landscape of a (the) body.
이미지 () 몸의 회고전 풍경에 존재합니다.
Image (of the body)/ Retrospective exist/ on/ the landscape.
이미지 (몸의) ) / 회고가 존재/에/ 풍경.
이미지는 풍경을 기존과 같은 신체의 역이다.
The body is used as a piece of scenery in the space,
몸은 공간에서 풍경의 한 부분으로 사용됩니다,
복고풍의 몸은 우주에서 풍경으로 진행 중입니다,
retro-/ the body/ in the universe/ is in progress,
복고풍 / 우주에서 몸 / /이 진행 중입니다,
Retro / body / / in the universe is in progress,
Thursday, December 20 2012, 9:00PM
This year’s Psychedelic Xmas Spectacular
w Tony Buck, Magda Mayas, Tom Meadowcroft, Boris Hauf, Brendan Dougherty, James Welburn, Axel Dörner
Join us for an evening of spellbinding electric organs, hypnotic percussion, crazy ass bari sax drones.
It’s gonna be far out and epic:
Wabe, Danziger Str. 101, P-Berg, Berlin
Do it! We know you want to!!
The 3 level parking garage in the center of Berlin, in which my beloved studio is located, will be blown up and torn to pieces come January 1, 2013. No kidding… I’ve been saying good bye to the place these last weeks, recording on the ramps and levels of the actual parking garage. Awesome Sauce Songs and Sounds with Loves It! from Austin, Texas and my ancient buddy Kurt Johnson on bass and most recently some Solo Organ Noise Drones…. a tube mic on the ramp, the organ amp pointing into the parking level. here’s the noise. check and if you really really like it, drop me a line. Looks like I’m gonna start a remix project with this recordings with my long time buddies and collaborators Michael Hartman and Adam Sonderberg.
[soundcloud url=”http://api.soundcloud.com/playlists/2940043″ params=”color=00e9ff&auto_play=false&show_artwork=true” width=” 100%” height=”200″ iframe=”true” /]
1. LISTEN TO THE BIRDS That’s where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren’t going anywhere.
2. YOUR GUITAR IS NOT REALLY A GUITAR Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you’re good, you’ll land a big one.
3. PRACTICE IN FRONT OF A BUSH Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush doesn’t shake, eat another piece of bread.
4. WALK WITH THE DEVIL Old delta blues players referred to amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re bringing over from the other side. Electricity attracts demons and devils. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.
5. IF YOU’RE GUILTY OF THINKING, YOU’RE OUT If your brain is part of the process, you’re missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing.
6. NEVER POINT YOUR GUITAR AT ANYONE Your instrument has more power than lightning. Just hit a big chord, then run outside to hear it. But make sure you are not standing in an open field.
7. ALWAYS CARRY YOUR CHURCH KEY You must carry your key and use it when called upon. That’s your part of the bargain. Like One String Sam. He was a Detroit street musician in the fifties who played a homemade instrument. His song “I Need A Hundred Dollars” is warm pie. Another church key holder is Hubert Sumlin, Howlin’ Wolf’s guitar player. He just stands there like the Statue of Liberty making you want to look up her dress to see how he’s doing it.
8. DON’T WIPE THE SWEAT OFF YOUR INSTRUMENT You need that stink on there. Then you have to get that stink onto your music.
9. KEEP YOUR GUITAR IN A DARK PLACE When you’re not playing your guitar, cover it and keep it in a dark place. If you don’t play your guitar for more than a day, be sure to put a saucer of water in with it.
10. YOU GOTTA HAVE A HOOD FOR YOUR ENGINE Wear a hat when you play and keep that hat on. A hat is a pressure cooker. If you have a roof on your house the hot air can’t escape. Even a lima bean has to have a wet paper towel around it to make it grow.
10 Rules for Students and Teachers
from John Cage
RULE ONE: Find a place you trust, and then, try trusting it for awhile.
RULE TWO: General duties of a student — pull everything out of your teacher; pull everything out of your fellow students.
RULE THREE: General duties of a teacher — pull everything out of your students.
RULE FOUR: Consider everything an experiment.
RULE FIVE: Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make.
RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.
RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes.
RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
RULE TEN: We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.
HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later.
A collision of musicians that on paper might suggest fractious, frantic results, is instead a gestalt of tempered, balanced, largely restrained playing, with egos in abeyance and empathy keenly evident. You can refer to Bill Meyers’ fine liner notes for a run-down of Hauf’s affair with the city, but I do find one aspect of this ensemble’s joined sensibilities of interest. Essentially the Sextet is an encounter between Chicago improvisers of the Umbrella Music Collective (Jason Stein, Keefe Jackson and Rosaly) and musicians associated with (let’s forgo bickering about placeholder names) EAI (Michael Hartman of T.V Pow, Hauf with his Efzeg affiliation, Steven Hess of, among many projects, Haptic). A little research reveals that all of the Sextet came to Chicago, from every direction,between 1999-2001. Efzeg became active in Vienna in 1999, but Hauf began his infatuation with the Midwestern city that year, returning annually, more or less, to this date; Keefe and Rosaly hit the city in 2001; T.V. Pow, as a trio, became active in the city at that time; in other words, the present-day Sextet gathered in Chicago at least 12 years ago, drawn to it as a burgeoning locus for experimental music. That’s one aspect of this collision.
The music at hand owns some of the blurring of individual roles associated with Efzeg or Haptic; the horns often braid and twine together without solos or a foregrounded voice. There are passages where, oddly and refreshingly, the three drummers lay out, opening a World Saxophone Quartet-like space for Stein, Hauf and Jackson’s stacked harmonies. The flip is true as well – one piece finds the percussion rumbling alone, with an admirably tamped-down fire. There are occasional bursts of frenetic reed work, though reigned in and always returning and folding back into the whole.
Somehow – and I count this as no small feat – Hauf has immersed himself for many years in his adopted city, his love for theimprovisation forged there self-evident, without becoming derivative or diluting his own sound and approach. This enables the Sextet to be a strange brew, an authentic collective, remaining horizontal, unimpeded by egos, and able to foment, as they do onNext Delusion, a surprise or two.
Jesse Goin – CROW WITH NO MOUTH
Owl & Mack Loves It @ Schokoladen, Berlin Oct. 25, 2012
All Photos by – Patrick Pagel
This Thursday we have something special for you:
Owl & Mack loves it!
Boris Hauf – barisax, guitar, vocals
Jenny Parrott – fiddle, guitar, vocals
Vaughn Walters – guitar, guitar, vocals
Kurt Johnson – bass
Derek Shirely – drums
Thursday 8PM – Oct 25, 2012
Acker Str. 169
Concert starts 8PM sharp!!!
Doors open at 7PM.
Owl & Mack born out of love for Chicago Blues, alt-country, free-folk-singer-songwriting, cryptical-obscure dark-vamp-based jazz, minimal Drone music, nocturnal birds of prey and incredibly robust and durable trucks.
Loves it! is kinda country/old time/early rock, really great vocals, very energetic sometimes in a sweet innocent way, tending toward the brutal when the demented bassist joins them, harmony driven acoustic music band from Austin, Texas. They’ve been on a 2 month tour here in Europe. We played a bunch of shows here in Berlin and are tight and loose, both at the same time.
Come out to support your local texan hybrid band playing one of the hottest venues in town.
Rico Repotente will be joining us on the bill and partying his newest release: Dust on the Halo. Check it.
Show starts at 8pm sharp. Like I said. At 8pm. (20:00)
Hope to see you!!
Loves it! is kinda country/old time/early rock, really great vocals, very energetic sometimes in a sweet innocent way, tending toward the brutal when the demented bassist joins them, harmony driven acoustic music band from Austin, Texas.
I’m already loven it… I’ll be joining them for some songs. Loven it even more.
Would be great to see some of you.
LOVES IT (Austin, Texas)
Friday, Oct 19
Sunday, Oct 21
White Trash Fast Food
Monday, Oct 22
Bassy Club, Wild Music Before 1969
Write up by Chicago Reader’s Peter Margasak. Thanks thanks thanks:
“Berlin-based Austrian reedist Boris Hauf has been a regular visitor to Chicago since 1998, often taking up residency for months at a time. He’s developed close ties and friendships with many locals, mostly notably the members of TV Pow. Hauf arrived here Sunday night for a stay of two and a half weeks, and on Wednesday he’ll perform at the Hideout in an improvising quartet with bass clarinetist Jason Stein, bassist Anton Hatwich, and drummer Tim Daisy. Also on the bill is a project called Baseless led by cellist Fred Lonberg-Holm (here doubling on guitar), which includes saxophonist Nick Mazzarella, percussionist Steve Hunt, and analog synth player Aaron Zarzutzki.
Two of Hauf’s latest recordings were cut in Chicago during a 2010 visit, and they both bring together players from the improvised and experimental-music communities. Next Delusion(Clean Feed) is a sextet outing with fellow reedists Stein and Keefe Jackson and drummers Frank Rosaly, Steve Hess, and Michael Hartman, and as Reader contributor Bill Meyer writes in his liner notes, “You might find the Berlin-based saxophonist’s accompanists on the same bill, but not in the same group.” Indeed, Hauf combines aesthetics and personnel from both worlds not only on Next Delusion but also on Proxemics (Creative Sources), a quartet album with Jackson, Hess, and keyboardist Judith Unterpertinger; they dig deep into sustained drones rippling with subtle textural variation, while maintaining a clearly improvisational mind-set.
Everyone joining Hauf for Wednesday’s performance is rooted in Chicago’s jazz and improvised-music community, but all of them are flexible enough that things could go in any direction.”
BORIS HAUF SEXTET, NEXT DELUSION
Boris Hauf is probably still best known as a participant in the Vienna improvising scene of the turn of the millennium, a saxophonist as comfortable in electronically rich environments (like Efzeg) as in micro-improvising. This new sextet music – with Hauf on tenor and soprano, Keefe Jackson on tenor and contrabass clarinet, Jason Stein on bass clarinet, and Frank Rosaly, Steven Hess, and Michael Hartman on drums (Hess also adds electronics) – is a rich amalgam of the two approaches. Next Delusion often sounds as if something of the woody intensity of Gebhard Ullman’s clarinet trio (at least their methodology if not their instrumentation) meets with a percussion sound midway between the spare beats of Martin Brandlmayr and a kind of Paul Lovens bustle. The opening “Gregory Grant Machine” is terrific, moving between sections of Polwechsel’s flinty sparseness and solemn moving chords from low woodwinds, continually dipping in and out of silence. It’s an approach that Hauf favors for this instrumentation, and he uses it even more effectively on “Eighteen Ghost Roads,” whose slow sectional chords rise patiently and deliberately to a stately, ROVA-esque feel before erupting in a threeway percussive rumble that sets up a different context for the same horn movement. There’s plenty of variation on the record, lest you think there are simply different settings for this general approach. Each tune features great attention to tonal / timbral contrast, often pitting high whining feedback against eructations from the lower horns. A burble of reed popping sets the course on “Fame & Riches,” which morphs via woven tones and the gentlest, deftest cymbal work into a sustained hum of an atmosphere. And the closing “Wayward Lanes” races along with a skirling series of bass clarinet patterns wending through a thicket of rimshots. It’s a compelling record, a consistent study of contained tension and contrasts.
Todd Carter – Vocals, Percussion
Brent Gutzeit – Vocals, Percussion
Michael Hartman – Vocals, Percussion
Boris Hauf – Vocals, Percussion
05. Juli 2012
Zeit-Ton Porträt. Wiener Weltenbummler: Boris Sinclair Hauf. Gestaltung: Andreas Felber
“Ensemble für zeitgenössische Gebrauchsmusik”, kurz: EFZEG, so hieß die Formation, mit der Saxofonist Boris Sinclair Hauf in den 1990er-Jahren in der Wiener Szene bekannt wurde. Heute lebt Hauf in Berlin und pflegt enge Beziehungen zur Improvisationsszene in Chicago, wo er u. a. das Festival “Chicago Sound Map” kuratiert. Aktuell meldet sich der 38-Jährige mit CD-Veröffentlichungen seines Sextetts und des Quartetts “Proxemics” zurück.