Solo in Kiel

Am 27.9.2019 20:00 spiele ich in Kiel in der Galerie ONspace in der Ilitisstr. 10. Seit langem mal wieder in der Heimat

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Humanoise

 

Vom 23. – 25. Juni war ich beim 29sten Humanoise Congress in Wiesbaden.  3 Tage fantastische Musik mit fantastischen MusikerInnen.

Hier das Ensemble (fotografiert von Mirella Eckhardt)
v.l. Wolfgang Schliemann, Veryayn Weston, Matthias Muche, Burkhard Stangl, Els Vandeweyer, Irene Kepl, Dirk Marwedel, Silvia Sauer, Gunnar Lettow, Ullrich Phillipp

 

Auf dem Youtubechannel der Kooperative NewJazz gibt es nun einige Videos : https://www.youtube.com/channel/UC8LwHh6uGtMvx3DVj2uO6Ww

Hier die Besetzungen bei denen ich beteiligt war.

Trio mit Irene kepl und Dirk Marwedel

Qunitett mit Veryan Weston, Matthias Muche, Uli Phillipp und Sylvia Sauer

Du mit Els Vandeweyer

Tutti

Konzerte bei Blurred Edges 2017

Im Rahmen des blurred edges Festival 2017 spiele ich bei 2 Konzerten.

Frequenzgänge #71 03.06.17

Frequenzgänge bei blurred edges – Amplituden I
Centro Sociale, Sternstr, 2
Improvisationen: körnig und abstrakt

Nora Krahl: Cello
Agnes Hvizdalek: Stimme
Michael Thieke: Klarinette
Birgit Ulher: Trompete, Radio, Objects
Gunnar Lettow: prep. e-bass., electronics

Frequenzgänge #72 11.06.17

Frequenzgänge bei blurred edges – Amplituden II
Centro Sociale, Sternstr, 2
Improvisation mit und ohne Strom

Hector Rey: electronic devices
Gudinni Cortina: paper, wood, rotating surface and tone generator
Alexander Markvart: guitar
Roland Spieth: trumpet
Gunnar Lettow: prep. el. bass, electronics

Ausserdem gibt es eine Komposition von mir beim Projekt Sound Cache (https://maupi-art.com/2017/03/11/soundcaching-blurred-waves/) zu entdecken. Viel Spaß beim suchen.

Konzerte im Oktober

Ich freue mich auf 3 Konzerte im Oktober.

In Hamburg beim Rauschmelder im Atelierhaus 23 am 14.10.2016 20:00

Emilio Gordoa – vibraphone
Gregory Büttner – loudspeaker, objects, computer
Gunnar Lettow – prep. el. bass

Danach in Berlin ebefalls mit Emilio Gordoa bei einem der letzen Vernastaltungen im Quiet cue

Emilio Gordoa – vibraphone
Axel Dörner – trumpet
Gunnar Lettow – prep. el. bass

Und schließlich am 21.10.2016 bei den Frequenzgängen mit Petr Vrba aus Prag und Gregory Büttner

Petr Vrba – trumpet
Gregory Büttner – computer, objects, external speakers, fan
Gunnar Lettow – prep. e-bass., electronics

Falling Bostel availabel on minimamedia

My CD Falling Bostel with Korhan Erel ist available on minimamedia

Hannover

Looking forward to two concerts in Hannvover with Eberhard Meisel on Zither and Andreas Brüning on el. bass

14.2.2015 21:00
Oberdeck, Hannover
Königsworther Str. 20

15.2.2015 18:00
Tonhalle, Hannover
Fischerstr 1a

FRIM/SYDS Julspektakel

Some Impressions from the phase~in trip to Malmö.

FRIM/SYDS bjuder in till storstilat

julspektakel på galleri Ping Pong med
Phase~In + Herman & Qarins Elektriska Duett.

14 december 2014 – kl. 18:00
Galleri Ping-Pong
Stora Nygatan 4, Malmö

phase~In (DE)
Gunnar Lettow – bass & live electronics & fx
Sylvia Necker – space station & fx

Herman & Qarins Elektriska Duett (SWE)
Herman Müntzing – electronics
Qarin Wikström – röst & electronics

 

New Review at Vital Weekly about zwei mal zwei

Frans de Waard wrote in Vital Weekly a review about Zwei mal zwei with  GREGORY BÜTTNER & ERNESTO RODRIGUES & NUNO TORRES, Thnks Frans! mal zwei

A quartet of improvisers, and I am not entirely sure why it says ‚Zwei Mal Zwei‘, meaning two times two. Maybe it’s a reference to where these people are from? Two from Germany and two from Portugal? Or perhaps there is a regular duo for each of Büttner/Lettow and Rodrigues/Torres? I don’t know. The recordings were made on the 3rd of April 2014 in Hamburg and credits are thus: Ernesto Rodrigues (viola), Gunnar Lettow (prepared bass, guitar, electronics, objects), Nuno Torres (alto saxophone) and Gregory Büttner (computer, loudspeakers, objects fan). This is the department of careful improvisation and much of this works in the area of electro-acoustic sound treatments, even when it comes to playing the instruments as such. Each of these players consider his instrument(s) as a an object, a piece, an element that generates sound and together they craft some pretty intense stuff; they always listen closely to what the others are doing and respond and react when needed or simply do
nothing when required. Quite intense at various times, due to the amount of sound information and sometimes because due to it’s absence. That it perhaps contains all the usual things around such improvised matters, but in fact this is a great release. Intense, concentrated, but also playful and not entirely without humour. Quite a nice release indeed. (FdW) http://www.vitalweekly.net/961.html

http://www.creativesourcesrec.com/catalog/catalog_284.html

Soundcloud Preview

phonophon compilation

[rec.phonophon] ist eine Compilation auf 2 CDs zu der seit über 5 Jahren bestehenden Konzertreihe Phonophon, die vom Verein zur Förderung von Phonographie und experimenteller Musik in Frankfurt am Main kuratiert wird. 2011 hat phase~in (mein Duo mit Sylvia Necker) dort gespielt und ein Track von uns ist auf dieser schönen Compilation dabei.

Review auf Sound Projector

Und noch ein Review von Flakes auf The Sound Projector. Diesmal auf englisch.

 Flakes (1000füssler 021) is a tad different to the above works, in that it involves Gunnar Lettow actually performing on the electric bass and doing some live electronics, and it’s more like the document of a live action. Lettow turned his back on a promising career in the rock band Nice Noise just so he could pursue his “prepared bass” experiments, which means he uses the typical crocodile clips (purchased direct from Keith Rowe’s online store) and objects inserted into his strings, along with an array of effects pedals. However, his aim at all times is to produce forms of interesting noise rather than music, and he’s fond of microtonal events. Label boss Gregory Büttner joins him with an electric fan, a loudspeaker, and a low sine tone, making this a near-classic example of performed electro-acoustic noise improv, over speakers…so we’d have to throw in the word “acousmatic” too. Growly, groany, gritty noise…also very droney and object-centred. A shade more “controlled” than Amptext above, yet I like the way it’s full of unpredictable turns, and there’s a strong attention to detail, meaning that every single one of these 18 minutes is packed with meaning and event, and nothing is wasted.