Jam Apotheosis

by on Tuesday, 18 October 2011 Comments

After producing the CD of contemporary world music, eRenlai magazine facilitated three concerts with the participating artists in the compilation. A dozen or so different bands performed their music live to the joy of the audience. For this third and final performance, on September 16, the Tien Educational Center opened its doors to world music for the second time, and it was fitting surroundings, with sound system and lights ready to create an unforgettable night.

Viba and Claire Juan (Photo: C. Tuduri)

From the outset we were embraced by the presence of Viba, previously introduced to me as Paul, I didn’t recognize him and thought he was part of Orbit Folks since we were all on stage doing the sound setup before the concert. It was then I realized that the night was going to blend of different musical styles until the lights went out.

Viba presented his chillout-electronic-world beat on stage with singer Claire Juan. Doing this live requires a lot of talent and knowledge since Viba has a daunting setup of synthesizers, drum machines and one computer. A one-man band triggering crazy ambient samples and loops of smooth rhythms, more than appropriate to open the evening.

Orbit Folks were next on stage, with Martijn Vanbuel (double bass), Toshihiro Wakaike (Indian tabla) and Mike Zeng (piano) combining elements of jazz and tabla to bring us some outer space rhythms. There was an interesting contrast between the Folks and Viba, since their ensemble is completely acoustic whereas Viba is mostly electronic. The band's performance was impressive, all of their members have a strong musical background that was gently delivered to the audience. As in any other jazz concert they included a lot of improvisation showing their mastery of the instruments and preparing the ground for the next band. They played some of their songs like Anouar, Santur and Serenade composed by Martijn Vanbuel and Caravan (by Juan Tizol, arr. by Martijn Vanbuel) and Rahu (by Toshihiro Wakaike, arr. by Martijn).

Comprised of Louis Goldford (soprano sax) Lio Pinard (accordion), Martijn Vanbuel (piano), Kelvin Chuang (bass) and Weichung Lin (drums), Flâneur Daguerre were the next surprise, further raising the excitement in the same hall that once held Taiwan’s first absurdist theatre troupe. Their performance developed finely. I felt like there were fireworks shooting from the stage. The immersion of their music in complexity enabled the band to grab the attention of the audience at all moments. I would love to see this band again; in fact as I write this paragraph I am listening to the track Harvest Drums included in the CD.

The next performance was from Minkoku Hyakunen (Yingfan Huang and You-Sheng Zhang). These guys come from the school of noise and improvisation. They use sounds of all sorts as their source, in stark contrast to the previous bands' use of musical notes. Minkoku's highlight is their stage performance, full of gestures and symbols that are close to a theatrical set and bursting with interesting atmosphere. Their instruments come from temples, such as bells and cymbals in addition to other sound objects. The audience clearly expressed their gratitude at the end of their performance.

Up next was Fao, playing his "Mamba in Solitude" including sampled Chinese flutes, guqin (古琴), Indian tabla and electronic sounds permeating through the crowds. Fao is a Colombian composer searching for new sounds in Asia. We thoroughly enjoyed his piece since it is a mixture of Latin rhythms (such as cumbia) with Chinese instruments around an Amazonian ritual.

To close the night Fao, Louis Goldford and myself quickly schemed together a few guidelines to improvise on for the grand finale with the rest of the participating musicians. On stage we had tabla, two saxophones, guitar, electronics, piano, drums, double bass and more. This was the first time we had played together and it erupted into an explosion of excitement rippling through the whole theater, the perfect was to close this celebration of the meeting of cultures and music.

Overall the CD and the concerts were a success and this was an admirable gesture from Renlai to provide the infrastructure and vision to put this idea together and hopefully provide the building blocks for future world music development in Taiwan. I just hope this is not the last time it happens. Thanks to all the musicians who participated in the CD. And thanks too to the enthusiastic public who embraced this mixture of music.

Renlai Concert #3 - Part 1

Renlai Concert #3 - Part 2

Videos filmed and edited by Pinti Zheng


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Photos courtesy of Paul Moysan

 

 

Jose Duarte (杜宏安)

I graduated with an MA in Music in National Chiao Tung University in Taiwan. I studied Algorithmic Composition with Phil Winsor and free improvisation with Chao-Ming Tung.

I compose Electroacoustic Music and have developed a career as a composer of Contemporary Dance winning recognition at the National Choreography Festival in 2009 and 2010 in Costa Rica. My music has been performed in the United States, Taiwan, Spain, Peru, Colombia, Uruguay and Costa Rica.

Currently I am composing music for Video Games.

My electroacoustic piece "Sin Titulo" has been selected to participate in the first Sound Art Competition Mucevi and is presented in the Spanish Cultural Center in October 2011.

I am interested in Contemporary Music and how it relates with traditional music especially in Asia which a place that has influenced the world musically.

我畢業於音樂與在國立交通大學台灣文學碩士學位。我研究了算法的組成菲爾南聯與董昭民自由即興。

我撰寫電子音樂,並發展成為一個在國家承認在2009年和2010年在哥斯達黎加贏得編舞當代舞蹈節作曲生涯。我的音樂已執行在美國,台灣,西班牙,秘魯,哥倫比亞,烏拉圭和哥斯達黎加。

目前我創作的遊戲音樂。

我的電聲作品“無題”已被選中參加第一Mucevi和聲音藝術比賽是在西班牙文化中心2011年10月至今。

我很感興趣,並英寸當代音樂與傳統音樂如何在亞洲尤其是一個地方,你在音樂上影響了世界的關係。

Website: www.sonorum.org

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