1. Deterritorialization I (30:18)
2. Deterritorialization II (30:27)
· Anastasios Savvopoulos: guitar
· Brad Henkel: trumpet
· Philipp Gropper: tenor saxophone
· Felix Henkelhausen: double bass
· Dré Hočevar: drums
All music by Anastasios Savvopoulos, Brad Henkel, Philipp Gropper, Felix Henkelhausen & Dré Hočevar
Recorded live at Klub Gromka, Ljubljana on 19 September 2018
Engineered and recorded by Iztok Zupan
Mixed by Dave Darlington at Bass Hit Recording, New York
Mastered by Sebastian Ohmert at Tonstudio Sonic-Impulse, Berlin
Cover art by Anastasios Savvopoulos
Photos by Iztok Zupan
Graphic design by László Szakács
Produced by Anastasios Savvopoulos
Executive producer: Nataša Serec
Associate producer: László Juhász
As Derek Bailey puts in his seminal 1992 book on the nature and practice of improvised music, freely improvised music, variously called ‘total improvisation’, ‘open improvisation’, ‘free music’, or maybe most often commonly, ‘improvised music’ suffers from – and also certainly enjoys – the confused identity which its resistance labelling indicates. The lack of definiteness over its naming is, if anything, increased when we come to the thing itself. Diversity is its most consistent characteristic. It has no stylistic or idiomatic commitment, it has no prescribed idiomatic sound, the characteristics of freely improvised music are established only by the sonic and musical identity of the individuals playing it.
Free improvisation assumes a new experience, an unfamiliarity with what is to come, what is to happen, a total disruption of expectations. How much more intense and disorienting the experience becomes in the music of Anastasios Savvopoulos’ OUXPO (Ouvroir d’X Potentielle). Each member of this Berlin-based, but remarkably international quintet – namely American trumpet player Brad Henkel, German tenor saxophonist Philipp Gropper, Greek guitarist and band-leader Anastasios Savvopoulos, German double bassist Felix Henkelhausen and Slovenian drummer Dré Hočevar – has an imposing resume of various musical adventures, but as a group, their music expresses particular qualities and raises challenging questions. OUXPO offers no customary constructions, no persistent prototypes. The improvising unit’s two lengthy instant compositions here could be read as two vast chapters in a continuing story, following an abstract narrative of details.
The pool of five offers a seemingly usual, but here thoroughly matching instrumentation. The alchemy between the players undoubtedly works – what is more, it works blazingly. The sonic and musical personalities of the individuals – that Bailey talks about – define eventually this freely improvised session, and place it of the highest order. However, this document preserves the very first meeting of the players as a performing group, it clearly demands continuation. The music that you will hear on Deterritorialization is the quintet’s complete Ljubljana performance, held at KUD Mreža’s concert series FriForma at Klub Gromka on 19 September 2018 – without editing, literally as it happened.
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