In his "chirping machine" the international Morse code forms the basis for a music that moves between new music, (free) jazz, groove and punk rock. On 9.2. at half past eight at the Telegraph.
Four beaked creatures with spindly legs, sparsely feathered, cling to a pole hanging horizontally in space. Their heads stretch up to the sky, their beaks open. With a crank on the side, the pole can be turned, the four little birds turn with it and give off a great chirping sound. This is Paul Klee's "The Chirping Machine" from 1922. Almost a hundred years earlier, Samuel Morse developed Morse code. Saxophonist Mark Weschenfelder combines both concepts in his latest project, which bears the title of Klee's watercolor. In his "chirping machine" the international Morse code forms the basis for a music that moves between new music, (free) jazz, groove and punk rock. The structure of the short-long signals provides the rhythm, the seven musicians the tones: flutes, saxophone, trombone and rhythm section join together to form a communicative chirping Morse code, if we just crank hard...
Mark Weschenfelder (as), Paul Berberich (fl), Vincent Bababoutilabo (afl), Adrian Kleinlosen (tb), Jo Wespel (git), Matthias Eichhorn (b) and Florian Lauer (dr).
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