In the computer it just kind of like opened up an entire world for me I'm more interested in finding sounds and hammers that I haven't heard before but what gets lost and what gets found when we go from paper to compete us like technology scary change is scary so you're going to have huge numbers of people that are going to like it comes along select Copy paste a new 3 part series exploring technology and creativity with me clemency baton held begins tomorrow at 645 on b.b.c. Radio 3. This Saturday night on b.b.c. Radio 3 Jeffrey Smith is here in a couple of hours time to introduce highlights from the recording career of the great jazz pianist Oscar Peterson that's Jeffrey Smith's jazz at 12 midnight but now it's a little after 10 o'clock it's time for this week's here and now presented by Tom service Welcome to the nights here are now in the 1st of 2 programs from a concrete bunker under Baker Street and bigger piece 3 the x. Materials factory and the cultural power has the venue for London's most consistently adventurous New Music Festival of recent years else e.m.f. The London contemporary music festival among the week of concerts were 3 devoted to what the organizers called the new intimacy radical visions and Sons of Iraq decision vocality and politically charged performance art and as well as an evening called Ruins in reverse and a 7 hour long performance of Schubert single song and he was eek where the concerts that we're going to delve into this Saturday and next on here in the world of Robert Ashley and wild pop. Both titles can only hint at the sheer variety of sound and spectacle the delicacy and violence the mind boggling an ear opening and convention defying shows that we all experienced that one day. Then. Many. Places in. Wide. Spread sheets braid my wipers. Break right l c m f does the same for concert conventions as it does for the variety of music it presents 3 performance spaces on 3 sides of the square floor and walls of and bigger piece three's austerely industrial architecture through which the sets from soloists on sawmills and electronic artists and films flow throughout the evening and here too is one of the most unfortunately radical approaches to listening that I've experienced it's a space in a presentation that frees you up as a spectator to walk around in the dark to perch on metal staircases above the space or sit on the concrete floor right next to the performers it's a place in which you can listen with focused attention or let the sounds Washoe view it's a context in other words in which you can listen in any way that you want to just as you can at home this evening so we're going to start with a set from one of the greatest of the great performers that L.C.M.'s hosted this year at the heart of the world pop concert was Joan the Barbara composer vocalist and new music catalyst for composers from Morton Feldman to Morton's about Nick and many other composers whose 1st name isn't Morton resplendent in a single spotlight la Barbara had Ambika p 3 spellbound with the simplest set up that you could imagine her voice and a microphone. The 1st one is a work called solitary journeys of the mind and it's. Essentially a real time composition it's constructed of a number of elements that I usually use but it's floors them in very different ways so each performance is and unique event Ok. Now I was. No no no no. No no no. No no you know. How. I was. Among I. Am now knowing o.e. Was. Going. The willingly ruing o o. 000-0000. O o me a little bit when I was you know I mean you. And I were. Everywhere and I was. And I am. Really a dame. Oh we'll. I mean we. Were in. It. And it. That. Betty. So. Much. Like there was a. Lot out of. Will know. You. Who. Who. Who. Who who who. Are Saying. Seeing. Me or her. Know who. Are. Serving. Me. Me airing. A mean. Thing or. Yelling and I don't know ion No I own now I am oh. Well Ok. Now I know it well now I am. Not I. Jonah Barbara and journeys of the mind more from her jaw dropping set next week as a performer earlier in her career Joan was part of the group of performers who realize the composer Robert Ashley's work with the composer and creator himself and Robert Ashley's work was an essential part of another London contemporary music festival concert with his own work and outliers and influences on the scenes of music and fear term performance in the United States in the 1960 s. On words Ashley died in 2014 but his son Sam Ashley another show manic composer performer was in London Sam sang with his fathers all sambal for 30 years alongside Jonah Barbara and the 1st of the 3 pieces of Roberts that we're going to hear this evening it's called Tap dancing in the sand from 2004 now in it Sam Ashley is with the players of apartment house the ensemble and he performs a spoken word vocal alongside them it's a kind of narrative as he explained to me during a break in rehearsals and Ambika p 3. Well what happens in the piece is that I'm telling this story about the statistics so I think Bob in Amsterdam you know he was over actually in Amsterdam Yeah I think it was he was in Amsterdam I guess he was kind of commissioned by an ensemble there to perform you know this piece and then he wrote that piece probably while he was in the hotel you know the story is kind of it goes through various things like it it talks about Cicero's idea that only somebody with a powerful memory knows what they're going to say and for how long they're going to speak basically I think Bob was reading Francis Yates the art of memory when he wrote that it's actually a pretty interesting book about like all about these kind of tricks that they used to do to remember stuff throughout European history there were all these churches they had all these things on the wall that was supposed to help you remember things from a bottle that was like the idea and I think Francis Yes got really interested in that stuff and I'm pretty sure Bob was reading that when he wrote the piece in the instance that they have this kind of echoing relationship with what you do with they're supposed to be basically repeating what I'm doing like imitating what I'm doing. And then at the end there is a 3rd section they're just supposed to be performing my voice basically is what it is and telling the story you know so it's an interesting piece it's kind of I think if they're interesting construction that's also just me thinking of the film which were not broken in the cd but just that the sort of in-between zones of media that your father was was working with a species like that to say it's an instrumental music that ultimately instrumental music becoming speech speech becoming Yeah it was easy to make the instrumental between building Yeah the speeches to be the source for those instruments like that they're actually supposed to be imitating what I'm doing so that's basically how it works and that's an interesting kind of range sure and it's not precisely notated or is not so you know it's not doing it are you talented There are so here it was I was listening to what I'm doing and then and then perform that Sam Ash the robot as the sun so here he is performing his father's tap dancing in the sand with apartment house playing a sort of murmuring echo of the rhythms the speaking voice tap dancing in the sand . 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Bomb bomb. Bomb. Robert Ashley is tap dancing in the sand musicians of apartment house and the voices of Sam Ashley and Elaine Michonne are just there beside him murmur rating as part of the ensemble Well 1st up in L.C.M.'s wild pop evening was another set with apartment house as the backing band for another unique vocalist the composer singer artist and writer of songs that he calls post-punk chamber music we bring you Chris Newman who appeared in Ambika piece 3 in a crumpled white suit with his delirious and uniquely urbane but rough aged vocal stylings he performed a grand selection of his songs and I spoke to Chris Newman in a subterranean corridor of m d p 3 What was it like to be performing these songs 3 decades and more after he 1st wrote them. Actually what's interesting is that it seems completely right now it doesn't seem at all historical In fact I'm a totally unfit story call kind of person so I feel very close to be on the matter you know here's my mate kind of thing he says he is if he were now I don't want to Vandy whatever and never think of art as historical at all and so this is the same thing applies to me Ok so in the context in which the songs were made that we write about this wonderfully the a lot of the things we're going to hear are necessary material to want to develop a record is that really how they were born these 3 songs yeah I mean there were those songs there's all 3 of those songs my wife is French dandruff they were written out of necessity. The thing is it's no different from any of my other work in a sense whether it's written out of necessity or a commission or whatever it makes no difference to me and the instrumentation the point this is an English couple This is the original instrumentation the way in which we did it with this panel Janet Smith and evangelists gesture in the eighty's so that that was from I think 80 but in 83 until 89 last concert with that with the setting and so this is absolutely original to mentation Yes And what are these songs Chris but other than what are they Ok I think in a way they are the very existential and the light and musical it catches central snippets I would say lyrically musically everything in terms of yeah both one of the fragments of than my life my life transcended my life specific and then being generalized and why this medium to do it a song is the best yet because it's one which can be very very close to your music isn't really more abstract sounds on the least bit up strap. And that's very interesting I think with British music community been some of the great songwriters here Ok The British are very good at abstract art they're not very good at abstract painting the not very good at music writing abstract music but they're great songwriters new great poets it's going to be interesting these songs aren't abstract but what interests me is to take these songs as material this non-abstract work and put it into a new context of abstract pieces that's kind of really interesting this is a city is taking this a source material and kind of like putting it into it purely instrumental frame so it's doing both in the same time though it would have worked as a compass but of course when it's no longer a song then it's a very very very different medium it's not as direct any more something something very direct I think here and for you as a performer as well but you're totally not clear what's your relationship with them as a performer do you have a relationship with them where they're they are you songs with they could be by other composers who were when you're embodying them do they feel even more part of your life when you're going to be yes it do actually Tom getting to be honest with you yeah yeah they seem like a I mean I'd like never to be the ultimate of normality and that's how they feel some the artist want to be like to make their work at something special I never think of my work as something special I would like it to be like melodramatic normality Chris Newman and he really is singing some of his melodramatic but normal songs accompanied by apartment house. 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Thought they got everything I think maybe that and they got it back with guns and the upcoming. Yack yack yack. With that with Pat when he. Had a pickup with us and we will both think you killed him. Yeah yeah yeah I. Yeah. Yeah. Yeah. Yeah yeah. Front and back. And I have your whole talk to my friends to shoot it makes you made to seem funny that. This one is good Jet I say. Thank you thank you thank a thank you. Thank you thank you. Thank you. But. They say. Oh now you. Just think a few if any before now you know. Muslims on taste. It's. A. Way. I. Like a cold. Not the. Sun. But something. Must. Have and I. Like that she was nice to. My. Bunk know. I mean sometimes. My way out. Of. The OAS when you lose. And the call with a. Quote . But. That's from the past. The most recent taste. In taste. Russians as. 6 Russians and tells. Them to. Thank you no I can't help it I don't do it on purpose at this point tell them my wife is French Why can't you ban me God. 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