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For the first time, TWT will present a session of improvised music and jazz. Bint Mbareh will open with a solo set of improvised voice and electronics, developed out of her investigations into water in Palestine. Next, Gary Washington will present his solo project for cello and vocal percussion drawing on the blues, jazz and hip hop. And Siapiau, 5-piece band with Jo Morrison joining especially for this gig, will close. Siapiau are a new, and old, ensemble, with a long history of collaboration through improvised music and poetry. We hope attendees will find something truly special in this little hut at the bottom of the garden. Free music has long had a relationship to the politics of freedom and liberation. All musicians performing will be using their voices. For those keen, the final item in the set will be an open jam for any who turn up.
Gary Washington AKA 'TheUrbanCellist' is a multi-disciplinary artist, whose roots come from playing professionally in New Orleans. Gary has created his own unique sound, interspersing his vocals, beatboxing and layering it all while playing cello at the same time.
Gary is classically trained along with being rooted in the jazz tradition. He also composes and has recently foudned Monumentalist Ensemble. This group plays a wide range of music from orchestral music to jazz to hip hop. Monumentalist Ensemble premiered 'Black Transcendental Suite' (string quartet) and 'A story of a people called black' (50 piece orchestra). Those compositions were all written by Gary Washington.
Siapiau is pronounced 'Sha-pea-eye' and it means Shapes in Welsh. The band is 5 piece especially for this gig. The players are: Maggie Nicols on voice & piano. Fran Bass on electric bass & voice. Richard Harrison on drums, objects & voice. Phil Hargreaves on tenor/soprano sax & voice. Jo Morrison on voice & objects.
is a sound researcher with a focus on water in Palestine. Her interest in the physical parallel between the water wave and sound wave leads her into questions of border dissolutions (between bodies, between states, between tenses), and into the possibility of being enveloped by the voice, by sounding communally similarly to being enveloped by a water body. She challenges settler colonial epistemology by taking seriously Palestinian ways of knowing, from rain-summoning music to shrine pilgrimage as an instigator to political revolution.
