As a young person from a working class background I was actively discouraged from learning music. Many years later I bought a guitar and taught myself to play, realising what I loved most was exploring the resonant body and the sonic possibilities of the instrument. Later still, discovering improvised music and the freedom of non-traditional structures was liberating.
I like the lack of rules, committing to trusting yourself in the spontaneous moment of an action, which leads to more spontaneity, getting towards the root of musical expression.
I like the lack of rules, committing to trusting yourself in the spontaneous moment of an action, which leads to more spontaneity, getting towards the root of musical expression.
John Stevens’ philosophy of an inclusive musicality, “where people feel free to listen, experiment, interact and make mistakes” has had a big influence on me, from my time making junk instruments with young people to the way I approach improvising and communal music making today.
Tim Hodgkinson's 'Shamanism and Improvisation’ also continues to influence me, as he describes so well 'Both improvisation and shamanism are deeply concerned with the limits of control and prediction.’ And my study of Pauline Oliveros’ ‘Deep Listening’ practice has made me a better listener, one of the keys of improvisation.
Tim Hodgkinson's 'Shamanism and Improvisation’ also continues to influence me, as he describes so well 'Both improvisation and shamanism are deeply concerned with the limits of control and prediction.’ And my study of Pauline Oliveros’ ‘Deep Listening’ practice has made me a better listener, one of the keys of improvisation.
All these things and more influence my improvisational work today, writing participatory scores, curating communal sound happenings, and improvising with other musicians.
Wilson-Thompson-Shiell
MIA festival (2011, 2016, 2019)
Kalendar (2009 - 2011)
Some Some Unicorn