Belgian baritone sax and bass clarinet player Hanne De Backer teams up with Danish alto sax revelation Signe Emmeluth, Norwegian drum phenomenon Paal Nilssen-Love and Dutch guitar manipulator Terrie Ex. To start out the evening Leila Bordreuil challenges conventional cello practice.

MUDSKIPPER > HANNE DE BACKER – SIGNE EMMELUTH – PAAL NILSSEN-LOVE – TERRIE HESSELS

In 2019 Terrie Hessels (The Ex, Lean Left), Paal Nilssen-Love (Large Unit), Hanne De Backer (Gabbro) and Signe Emmeluth (Amoeba) crossed paths in Antwerp on many occasions. Especially at last years Summer Bummer Festival at DE Studio where De Backer and Nilssen-Love played a frantic duo concert and Emmeluth floored the audience with her hard hitting Amoeba quartet. De Backer and Emmeluth also joined Angel Bat Dawid for what turned out to be one of the best performances of the festival. Shortly after that both musicians where invited to join Nilssen-Love’s Large Unit on their European tour.

At last years Visitations event Hessels was a very attentive spectator during the Marker residence with Farida Amadou, Stan Maris, Audrey Lauro and De Backer. Again De Backer made her mark and got an invitation tot join the festive tour of The Ex celebrating their 40th birthday in 2019. The, in the mean time, 65 year old guitarplayer also forged a very productive collaboration with Nilssen-Love, in particular with the scorching quartet Lean Left –  On 16/4 they play at Het Bos – with also the other guitar player of The Ex, Andy Moor, and reed player Ken Vandermark. The new band Mudskipper is the result of several meetings between De Backer, Emmeluth, Nilssen-Love and Hessels. The mixed generations and the different styles of approach that leave us with a cluster of impressions. A super band in the makes? Come and find out on 2 February at Het Bos, the only Belgian show of Mudskipper’s short European tour.

LEILA BORDREUIL

Leila Bordreuil is a French, Brooklyn-based, cellist, composer, and sound-artist. She accesses concepts as diverse as jazz, contemporary classical, noise, and experimental traditions but adheres to her own vision of sound. The New York Times has described her work as: ‘steadily scathing music, favouring long and corrosive atonalities’. Driven by a fierce interest in pure sound and inherent texture, Bordreuil challenges conventional cello practice through extreme extended techniques and amplification methods. Her composed works frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations.

Oorstof i.s.m. Het Bos