Member Since: 02/07/2006
Band Website: www.dafmusic.com
Band Members: London Improvisers Orchestra (LIO)
Up to 35 -40 people including Evan Parker, Steve Beresford, Dave Tucker, Tony Marsh, Terry Day, Lol Coxhill, Paul Rutherford, Philipp Wachsmann, John Edwards, Christoph Irmer, etc.
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----- http://www.myspace.com/londonimprovisersorchestra
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FoA (Fate of Animals)
A collective with a floating line-up that comprising of Aaron Robertson (guitar) Angeline Conaghan (vocals) Ashley Wales (electronics) Jamie McCarthy (violin) Javier Carmona (drums) and myself (db) ----- http://www.myspace.com/fateofanimals
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Aka Free
Chefa Alonso (sax), Ashley Wales (electronics), Javier Carmona (percussion) and myself (db)
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Pioneers
A new music in theatre work that is already generating quite a level of excitement. Booking now for Autumn. Angeline Conaghan (voice and guitar), Ben Brewer (guitar and voice) and myself (db and voice) ----- http://www.myspace.com/3pioneers
Influences: Charles Mingus, Barre Phillips, Dave Holland, Danny Thompson, Eberhard Weber, Andrew Hill, Greg Brown, John Prine, They might be Giants, Primus, Tim Buckley, Dave Dobbyn, Six Volts and all the fantastic musicians around me.
Finger Painting Review
From the Double
bassist - spring 2007.
David Leahy (db, pf, mbira, bullroarer)
Ex-pat New Zealand bass player David Leahy is now a regular fixture on the UK's
improvised music scene. Finger Painting is his debut solo album, and treats
the double bass as the still point of a turning world that incorporates his
piano backings and the occasional droll vocal. It's a good-natured jaunt
that demonstrates Leahy's versatility and the breadth of his stylistic
affiliations. He has christened his bass 'Nigeria' and in an amusingly
penned cartoon, Leahy shows how Nigeria was linked to various gizmos in the
recording process including a digital looper, Mbox and Pro Tools. On the first
track, Bathtime, the bass becomes reinvented as something approaching a finger-piano
and percussion orchestra; I'm not qualified to say exactly what kind of
ethnic music Leahy is referencing, but his melodic material has a strong personality
and the interaction between parts is effortlessly relaxed and loose. Later bass
textures are nudged towards mesmerising looped patterns, as the digital looper
picks up one of Leahy's phrases and does its thing. Looping can be a blunt
tool for creative music, but Leahy shows great discernment in the placement
and duration of his loops. My Relationship with Driving finds him exploring
funky slapped bass figurations that wouldn't be alien to Milt Hinton;
while elsewhere background piano riffs support Leahy's nimble fingered,
melodically percussive bass patterns. Finger Painting is a very enjoyable and
conceptually sophisticated Leahy primer.
PHILIP CLARK