This Fall’s Bridge Performances

From October 2 to 20, in France :

Don’t Tell (The Bridge #2.2)
Mai Sugimoto – alto saxophone, flute
Raymond Boni – guitar
Paul Rogers – double bass
Anton Hatwich – double bass

The Bridge, squared. This project is the second group to emerge from the second generation of Franco-American collaborative ensembles that The Bridge is launching. Following an intuition initially proposed by guitarist Raymond Boni, Mai Sugimoto, Anton Hatwich, and Paul Rogers took the time in November 2019 in Chicago to explore the possibilities of a vessel with mostly string instruments and no keyboards, no percussion, piloted simultaneously by four individuals with radically different artistic personalities. The idea was to create music that would grapple with the ideas of unfolding and entanglement, of sound as a set of lines and twists. Distant points in space and time can always be connected, even when you don’t expect it, especially when you don’t expect it: “Improvisation being a fundamental link for the coexistence of beings, what interests me most in this Franco-American encounter is the singular path of each one, and the unedited quality of this event.” Said Boni. Mission accomplished and to be reaccomplished in France in October 2022.

From October 31 to November 13, in Chicago and Midwest:

Temple of Enthusiasm (The Bridge #2.3)
Marvin Tate – voice
Erwan Keravec – bagpipes
Gerrit Hatcher – tenor saxophone
Gaspar Claus – cello
Lia Kohl – cello

They started to think of it this way: as the creation of a magnetic field in music. Four Aces and a Queen, of course, and all combinations of the unimaginable, all balances, all imbalances. First between a poet with a wide-open conscience (Marvin Tate), a hallucinating bagpiper (Erwan Keravec), a devilish saxophonist (Gerrit Hatcher), and two cellists in ambush (Gaspar Claus & Lia Kohl), in a racket. Each one of them having taken care to be rooted in a territory or a history (from the frankness of the Chicago ghetto to all the winds of Brittany, from jazz to pop or to improvisation, as long as crossroads are opened), while remaining free of its movements, to start again from scratch and to the infinity. Each one sees or hears things only in his own generous way, pulling in his own direction while being attracted by the directions that the four others discover.