Bex Burch, widely acclaimed for her Vula Viel and Flock projects, and recent duo recording with Leafcutter John, is due to present a two-day residency at Cafe OTO later this month, presenting an intimate portrait of her core practice and featuring special collaborations with legendary musicians such as Peter Zummo and Dame Evelyn Glennie, and John Edwards. This seemed like the ideal opportunity to ask Bex and Peter to share some music and conversation and let us share it with you.
We’ve been huge fans of Bex Burch’s music since first hearing Vula Viel’s rich melting of improvisation, rhythm and post punk energy, anchored by Bex’s beautiful gyil, a Ghanaian xlophone that she impressively built herseld. And of course we gone to not only follow that group’s progress but also see her explore minimalism with Flock, also featuring the likes of Tamar Osborn (Colloctuor), Dan Leavers aka Danalogue (Comet Is Coming / Soccor 96), Sarathy Korwar, and Al MacSween (Maisha), and free wheeling improvisation with experimental electronicist, Leafcutter John.
Peter Zummo’s celebrated trombone style should be recognisably to most, as a defining element of Arthur Russell’s legendary downtown NYC sound, that managed to connect minimalism with post punk and disco. Zummo has gone on to perform his own compositions and lead his own ensembles, and worked with myriad bands, orchestras, composers and musicians.
If we’re talking “messy minimalism” I think Laurie Anderson was my early conscious influence. Although actually, my friend Brendan Beales was the early influence and encouragement, And through him, Laurie too.
Brendan definitely saw the potential weirdo (artist?) in me before I knew it was there. He bought me big science when I was 15 and was getting into percussion. He also took me to London and to the Notting hill second hand music
stores… A whole education.
If we’re talking “messy minimalism” I think Laurie Anderson was my early conscious influence. Although actually, my friend Brendan Beales was the early influence and encouragement, And through him, Laurie too.
Brendan definitely saw the potential weirdo (artist?) in me before I knew it was there. He bought me big science when I was 15 and was getting into percussion. He also took me to London and to the Notting hill second hand music
stores… A whole education.
PZ: I saw Laurie do a gallery installation once. She replaced the bow hairs with 1/4 inch tape, tape head on the violin. Stood in the door jamb with contact mics on either side, bowed back and forth. I liked that one, thought it was a good example of performance art.
Stephanie and I used to work with Jane Comfort, the sign language coach on “O Superman”. “O Supermam”, that would have been hipper. That might be Peter Gordon on tenor at the end.