Chris Abrahams / Lucio Capece
Chris was born in Oamaru, New Zealand but grew up in Sydney, Australia.
He became very active in the Sydney jazz scene in the early eighties playing with modern jazz groups including Mark Simmonds’ Freeboppers and The Keys Music Orchestra. With Lloyd Swanton he formed the 60’s modern jazz-influenced The Benders in 1982. The band broke up in 1985 after having released three albums – E, False Laughter and Distance.
In 1984 Chris recorded and released his first solo piano album – Piano, followed in 1986 by Walk.
In 1985 Chris became a founding member of the Sydney indie rock band The Sparklers. As a result of this, Chris began working regularly with the singer and songwriter Melanie Oxley. Chris collaborated with Melanie, writing songs and producing albums, throughout the nineties. There are five releases with her: Resisting Calm (1990), Welcome to Violet (1992), Coal (1994), Jerusalem Bay (1998) and Blood Oranges (2003).
Chris released a third solo piano album Glow in 2001. This was followed in 2003 by Streaming, and Thrown in 2004.
Chris has collaborated, in both recording and performance, with many contemporary improvising musicians including Burkhard Beins, Mike Cooper and Anthony Pateras. He performs regularly in the improvising music scenes both in Australia and Europe.
Musician born in Argentina based in Berlin since 2004. He plays bass clarinet, soprano saxophone, and Sruti Box.
He plays mainly self composed and improvised music, focusing in the time experience and the perception experience as main subjects.
He works time in the research of constructing no narrative music (no start – no ending – no developments), and perception working sound in its most granular characteristics and its extremes.
Capece finished academic studies as a classical guitar player and studied the John Coltrane’s approach to saxophone playing, and classical and contemporary music in the bass clarinet, in Argentina. (Carlos Lastra, Martin Moore, Quique Sinesi, Gustavo Alsberg were some of his teachers.)
He played in Argentina for more than 10 years with the ensemble Avion Negro, relating composition and improvisation. He was part of the group as a performer and composer.
He studied his instruments also in Lyon, France in 1997 with Louis Sclavis and stayed for 9 months in New York in 2000, meeting several musicians related to improvisation and new music, and the ideas of Julius Hemphill and Anthony Braxton (Tim Berne, Hank Roberts, Marilyn Crispell, Gerry Hemingway, Jim Black, Gene Coleman).
He moved to Europe in 2002 establishing himself in Berlin in 2004. Since then he has been active in the improvised music scene, playing in Europe and Argentina. Releasing also several CDs.
In terms of instrumental playing Capece uses his own extensions and preparations. He prepares his saxophone with everyday objects (ping pong balls, water, different kinds of paper, tubes, pieces of metal, plastic bottles, bows etc.) as well as a raw feedback set where the saxophone is amplified and combined with mixers.
In the Bass Clarinet he uses mainly self created specific extended techniques, as well as a set of cardboard tubes,bows and different kind of vibrating surfaces. His instruments are somehow “corrupted” by everyday objects, found objects. The idea is not only to create interesting sounds with them but to research in the creative possibilities that everyday life provides. To consider the spaces where we live as main performers of the music.
The Sruti Box is a beautiful small Indian organ. He uses it searching in the hidden reactions of permanent sounding pitched sounds.
The different set of instruments fascinates him in terms of finding “noises” in the pitched combinations, and the pitched sounds hidden in “noises”, in the so called “concrete” material. Creating then simple polyphonies combining concrete and pitched sounds.
He considers everyday sounds as a main influence, as well as artists from other disciplines, like Robert Bresson and László Moholy-Nagy.
Capece directed in 2007 a sound-Lights-acusmatic project at the Bauhaus Archive in Berlin, performing with the “Light-Space Modulator”, the legendary kinetic sculpture built by László Moholy-Nagy in 1922-1930.
He plays mainly in the context of long term working groups.
Capece shares projects with Mika Vainio, Radu Malfatti, Toshimaru Nakamura, Axel Dorner, Kevin Drumm, Robin Hayward, Rhodri Davies, Burkhard Beins, Vladislav Delay, Lorenzo Brusci, Mattin, Julia Eckhardt, Sergio Merce, Morten Olsen and Christian Kesten, releasing CDs with several of them.
He played and shared several projects with Keith Rowe, Taku Sugimoto, Giuseppe Ielasi, Annette Krebs, Andrea Neumann, Franz Hautzinger, Domenico Sciajno, Gabriel Paiuk, Yannis Kyriakides and Sean Meehan among others, and was part of projects, as a performer, with Phill Niblock, Christian Wolff and Pauline Oliveros, with the Q-O2 Ensemble.
Capece worked with the dancer Ayara Hernandez (composing music for her solo piece “Blurry”).