Gareth Hill (contemporary double bass)
for this concert Gareth will be joined by Jack Beeche (Alto Saxophone), Dan Mamrot (guitar) and Aaron McCoullough (drums)
7:30pm | Friday 18 March 2016
Conservatorium Recital Hall
5 Sandy Bay Road, Hobart
After studying violin from aged eight, a suggestion from his orchestra conductor prompted Gareth Hill take up the Double Bass. Under the tutelage of renowned bassists U.S ex-pat Eric Ajaye and Max McBride in Canberra, Gareth pursued jazz, classical and other styles in the capital's thriving music scene. Gareth's dedication to his art led to New York where he studied with legendary bassists Rufus Reid and John Patitucci. Additionally, he has toured and performed with diverse artists and ensembles such as jazz greats Bernie McGann and Mark Levine, classical artists Thomas Ades and Brett Dean, and Amanda Palmer of the Dresden Dolls. After relocating in 2008, Gareth is deeply involved with the vibrant music scene of Melbourne with ensembles Blow, The End, Slow Code, and the Ted Vining Trio.
IDIOSYNCRATIC CONCEPTS IN THE MUSIC OF HENRY THREADGILL'S ZOOID : AN APPLIED INVESTIGATION INTO COMPOSITIONAL AND IMPROVISATIONAL TECHNIQUES
Henry Threadgill has stated in recent interviews that he has developed a new "intervallic language" for his current ensemble, Zooid. This language replaces standard harmony with note groupings based on intervallic relationships. The result is a dynamic and new sound, inhabiting an area somewhere between modern Jazz harmony and free improvisation.
This approach exemplifies Threadgill's consistent attitude of experimentation and unique thinking brings to all of his ensembles. Whether with the more standard setting of the leaderless saxophone trio, Air, or in his larger and more unusual groups like the Henry Threadgill Sextett (this is the correct spelling), the result is essentially the same: an extremely creative, individualistic and new sound.
I propose to investigate the music of Henry Threadgill's Zooid, focusing on compositional and improvisational techniques, and how these function in an ensemble setting.
As previously stated, an alternative harmonic system is present in Threadgill's work with his current ensemble, Zooid.In interviews he has revealed that certain intervallic parameters are given to the musicians in Zooid, allowing them to modify the harmony, three or four pitches, with prescribedintervallic movements. Further investigation of this system is needed to define its rules, notation and use.
Crucial in this musical language, is the way musicians in Threadgill's ensembles function together. The contribution of each member in each ensemble helps to create an overall effect and is predicated on the directions given through Threadgill's written notation and leadership. I aim to investigate the relationship between the written score and the performances that are generated by each musician, and discuss the group interactions present in each ensemble.
For myself, Threadgill's music is inspiring and intriguing. This research will lead me into new areas and give me a different creative approach to my practice. Potentially, this project may inspire others to explore Threadgill's approach and music.This research is directed towards informing my own practice as a musician and composer and consequently will involve the production of a series of original works employing discovered techniques.