THAT PERFORMANCE PROJECT, TPP …..”Making music for the pleasure of its making”

About THAT PERFORMANCE PROJECT

Until 1976, (remember I’m 75 at the time of writing) I was deeply involved as an acoustic bassist in the ‘modern’ jazz and then ‘free’ improvisation genres. I replaiced these modes with explorations into electronic music and performance art, modes of which I have not tired. The TPP collection includes some recordings from these periods but it is predominantly music I have made and recorded after 1993. In 1992 I experienced a renewed enthusiasm for the bass violin. I saw this remarkable instrument in a fresh light, unhindered by tradition, as a means of delving into music that I had conceptualised as Spontaneously Performed Interactive Composition.

Since establishing  THAT PERFORMANCE PROJECT late ‘93,  I‘ve been privileged to enjoy some very specific creative music making with a number of vigorous and inventive sounders. From the outset of this work, I adopted the view that recording must be inherent to its making… realtime documentation; portable, economical, simple, with the least imposition on the makers. I developed the habit, as part of the set-up for each session and performance, of placing a Sennheiser binaural dummy head on a mic stand within, or in front of the musicians, and recording direct to DAT and more recently to computer hard disk, start to finish.

These one-off experiences with a wide variety of performers evolved into more formalised ensembles THIS, THAT, THE OTHER, THE LEAGUE OF STRING MONGERS and ReMOVE under the umbrella production title, THAT PERFORMANCE PROJECT. Of the many recordings I made of two earlier groups, CONNECTIONS and FALSE START, only one CD of each is in included in this catalog. I have yet to master the remainder. In 2005, I stopped playing in general in 2005 and resumed in 2009. Some notable examples of this recent music are included in the catalog.

DT, 2011

Original Urban “Folk” Music

The making of spontaneously performed inter-active composition… SPIC  is determined on the spot, through mutual permission, open listening and democratic exchange, with minimal prior discussion, no scores, no arrangements, no overdubs, no multi-tracking.

Most importantly, it is music from this territory, local, original “folk” music, urban “village” music encompassing its makers’ divergent age, background, commitment and obsession.

Enjoying many influences, but free of debt, it stands with unashamed fragility, proclaiming its place.

DT 1994

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