BARRY GUY
A virtuoso of the double bass who employs a variety of both conventional and unorthodox techniques. He handles jazz with the same expertise he handles classical or contemporary music.
Barry Guy graduated in double bass and composition from Guildhall School of Music & Drama. But even before graduating he enjoyed enviable reputation for his mastery of jazz, improvised music and classical music. In the late 60s he played with John Stevens’ Spontaneous Music Ensemble, and in the years 1967 to 1970 he was part of Howard Riley’s trio. He was also one of the cofounders of London Musicians Cooperative.
Guy has collaborated with Tony Oxley, Evan Parker, Mike Westbrook, Peter Kowald, Trevor Watts, Bob Downes, Dave Holdsworth, Chris McGregor, but also with the BBC Symphony Orchestra, London Sinfonietta, Monteverdi Choir & Orchestra, Academy of Ancient Music, Capricorn, Richard Hickox Orchestra, and in a duet with soprano Jane Manning. He had also been a part of the Michael Nyman Band. Together, they recorded the soundtrack to The Draughtsman’s Contract (1982). He is also the founder and artistic director of London Jazz Composers’ Orchestra.
The double bassist often plays solo recitals that cover improvisation, as well as baroque and contemporary music. Guy also regularly performs in smaller ensembles like Homburger/Guy Duo, Parker/Guy Duo, trios with Marilyn Crispell and Paul Lytton, and with Jacques Demierre and Lucas Niggli. Recently he created a trio with Augustin Fernández and Ramón López. He also collaborates extensively with Mats Gustafsson.
In 2000 the musician founded the Barry Guy New Orchestra, which is formed by ten outstanding instrumentalists. BGNO is made up of some of Guy’s closest collaborators: Evan Parker, Paul Lytton, Hans Koch, Mats Gustafsson, Herb Robertson, Johannes Bauer, Per Åke Holmlander, Raymond Strid and Augustín Fernández.
KEN VANDERMARK
A central figure in modern jazz. A highly accomplished tenor saxophone player and bass clarinet player. The number of his musical projects is truly astonishing. However, he should also be seen as great proponent of jazz in Poland (and in the world) – after all, he was there when Kraków Jazz Autumn was born.
Resonance, the project he prepared, composed and arranged in 2007, was one of the most important events in the history of improvised music in Europe. Within a few years Resonance became a kind of flagship project for Vandermark, with concerts at prestigious festivals and remarkably well-received albums. Musically, the band has undergone a somewhat natural evolution process – it went from playing prepared jazz band numbers to becoming a free jazz ensemble that brings together improvisers who understand each other and cooperate seamlessly. Right now Resonance is much closer to the style of Peter Brötzmann’s Chicago Tentet than to traditional jazz big bands.
Tickets 30 zł in advance, 40 PLN on the day of the show
