The
term "experimental music" implies an intention that is
very different from the intentions of traditional, classical, or
pop music. Experimental music is first and foremost about exploration
of possibilities--rather than the confirmation of what is already
known or well understood. This can mean radical changes in the way
that the sounds and structures of music are conceived and perceived;
or it can mean subtle additions to the way music is made, played,
and heard--giving old music a new life. The result is a different,
strange, and often beautiful music, and sometimes experiences that
raise the question "Is this music at all?" (Even if I
like it?) The imagination is moved to center stage, with the history
of music left waiting just off stage.
"Improvisation"
is the practice of invention-on-the-spot in music, where the performer
"makes it up as he or she goes along." There are many
rich traditions of improvised music, such as Jazz, Blues, Indian
Classical music and some African and Eastern music. There is also
avant-garde music that is purely improvised, where the invention
takes place without any desire to locate it in an existing style
or tradition. This "Free" music first became known in
the Sixties, when it was associated with contemporary experiments
in Jazz and Modern Classical music, but has subsequently come into
its own as a permanent and inspired musical underground (with far
greater support in Europe than in the USA, incidentally). This music
has its own audience, but also draws interest from Jazz enthusiasts
interested in expressive or highly individual playing, and also
from people interested in the entire range of the musical imagination
(for instance, people interested in electronic, ambient, and world
music; and people interested in abstract art).
HIGH
ZERO investigates many sides of experimental improvised music,
drawing on an amazing pool of talented younger players (and several
important older figures) whose improvisations are only limited by
their imaginations. Though many of these players are virtuosic players
in other forms music (such as Jazz or Classical music) they are
united in HIGH ZERO by their commitment to the musical imagination
first and foremost: to music which challenges the limits and delights
by its audacity, expressiveness, immediacy, newness, and risk-taking.
Many of these players have very strong personal styles, and have
developed extremely unique music, whether it is based around dramatic
intensity, humor, especially designed and built instruments, original
use of electronics, raw sound, or nearly superhuman instrumental
technique. One and all, they are all "virtuosi of the spirit,"
and they must be seen to be believed. . . .
.
. .
In
recent years, Baltimore has unexpected joined Chicago, New
York, Seattle, San Fransisco, and Montreal as a rare center for
this kind of avant-garde musical activity in North America. Fueled
by an intense group of original players organizing a concert series
at The Red Room, the Baltimore
scene has received continual praise and critical attention since
a renaissance which began in 1993. HIGH ZERO is an outgrowth
of this cultural change, forming musical bonds between players from
different cities and focusing the attentions of a broad audience
for four days on this art form which is, at base, all about inspiration.
