Kees Boeke – recorders
Fred Thomas – vielle

Kees Boeke and Fred Thomas play French and Italian medieval duos from the Modena & Squarcialupi Codices, as well as the music of Paolo da Firenze, Matteo da Perugia, Giovanni da Cascia, Ciconia, Francesco Landini, Lorenzo Masini and Guillaume de Machaut.

Kees Boeke is an internationally acclaimed artist in the field of early music, specialising in recorders and medieval fiddle both as a performer, teacher and director. He has recorded over 80 CDs with various labels including his own record label, Olive Music, founded in 2001. He has been published as a composer and editor of renaissance and medieval music (Zen-On, Schott, Donemus, Olive Music Editions).

His activities in the realm of medieval music began as a member of Kees Otten’s ensemble Syntagma Musicum in the mid 1970’s, continuing with the renowned ensembles Quadro Hotteterre (1968), Sour Cream (1972), and later Little Consort Amsterdam (1978) and Mala Punica (1989). In 2003 he founded his medieval ensemble Tetraktys.

Professor at the Institut fur Alte Music in Trossingen, Germany, Kees Boeke became Director of the Medieval/Renaissance program there. He was also professor at the Hochschule für Musik und Theater in Zurich for 25 years. Presently, he is in his seventh year as director of the medieval summer course Settimana musicale del Trecento in Arezzo, Italy. He regularly gives master classes all over the world including Amsterdam, The Hague, Tokyo, Seoul, Taiwan, Tel Aviv, Palermo and Innsbruck. Kees has lived in Toscana for over 40 years, where he makes organic olive oil. www.o-livemusic.com

Based between the UK and Italy, Fred Thomas is an ECM artist and one of London’s most sought after multi-instrumentalists and composer/arranger/producers, known for his breadth of musical styles as well as for specialising in creative re-interpretations of J.S. Bach. He has appeared all over the world, performing in venues such as the Berlin Philarmonic, Amsterdam Concertgebouw, Wiener Konzerthaus and Teatro Liceo. Described as “remarkable” and given 5 stars by International Piano Magazine, his debut on the ECM New Series label was ‘Three or One’, 24 pieces by Bach transcribed for trio and solo piano by Thomas himself, featuring Lucy Railton and Aisha Orazbayeva.

Of Italian, British and Argentinian background, Thomas has collaborated with a huge variety of artists including Brian Eno, Yo-Yo Ma, Pierre-Laurent Aimard, Jordi Savall, Rachel Podger, Meredith Monk, Jarvis Cocker, Abel Selaocoe, Lianne Le Havas, Elizabeth Kenny, Jill Feldman, Lucy Crowe, Ethan Iverson, Larry Grenadier, Benoît Delbecq, Tamara Stefanovich, Leo Abrahams, Dudu Kouate, Olivia Chaney and Kees Boeke. Thomas is published by Edition Wilhelm Hansen and has a discography of over fifty albums across various genres, including appearing on the ECM jazz label as pianist, drummer and viellist.

Described as “a revelation” by Apple Music and “mesmerising” by BBC Music Magazine, Fred Thomas started to play classical piano at the age of five, later studying jazz piano and composition at the Royal Academy of Music. He works regularly as Musical Director at Shakespeare’s Globe and teaches at the Royal Academy of Music, London. As a producer, Thomas has overseen albums for labels such as Warner Classics and his recent compositions were performed internationally and at the Royal Opera House.

 

 

 

 

South African cellist Abel Selaocoe is redefining the parameters of the cello. He moves seamlessly across a plethora of genres and styles, from collaborations with world musicians and beatboxers, to concerto performances and solo classical recitals. 

Fred Thomas and Abel Selaocoe have been collaborating since 2021, when they recorded the album Where is Home? (Hae Ke Kae) for Warner Classics. Fred Thomas produced and played multiple instruments on this internationally acclaimed album, which featured Yo-Yo Ma and won Songlines Magazine best album of 2022. In a quartet with Dudu Kouate and Alan Keary, Thomas and Selaocoe have toured Europe’s most prestigious concert halls, including the Berlin Philarmonie, Köhlner Philarmonie, Queen Elizabeth Hall and Amsterdam Concertgebouw, as well as appearing on Later with Jools Holland.

Abel Selaocoe is an exclusive recording artist with Warner Classics and his debut album Where is Home? (Hae Ke Kae) was released on Friday 23 September 2022.

 

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Fred Thomas & Phaedra Ensemble have been collaborating for the past six years. Thomas’ composition ‘Taking a Nap, I Pound the Rice’, for string quartet, percussion, prepared piano and spoken voice, was recorded and released by Phaedra in 2022.

The EP features Phaedra Ensemble string quartet, Maurizio Ravalico (percussion), Jill Feldman (voice) and Fred Thomas on prepared piano. The five-movement piece sets to music texts drawn from various writings of Thelonious Monk, Anton Webern, J.A. Baker, Morton Feldman and John Cage, and then re-assembled into poems by Fred Thomas.

Founded in 2014 by violinist Phillip Granell, Phaedra has evolved from its inception as a string quartet to a larger collective of like-minded performers, drawn from London’s diverse musical landscape. 

2023 sees the culmination of their collaboration with the extraordinary vocalist/composer Meredith Monk, with the forthcoming release of their debut album featuring the first recording of her only string quartet Stringsongs plus two works for larger ensemble. The album will be released on ECM Records.

Previous UK performances include Kings Place, The Barbican, Kammer Klang @ Cafe Oto, Royal Festival Hall & Purcell Rooms, The Royal Opera House, and internationally at  NYU Arts Center (Abu Dhabi), and La Seine Musicale (Paris). They have been broadcast and performed live on BBC Radio 3 and Resonance.fm.

Their ongoing VOX project explores the radical use of the human voice in music and performance, leading to a dozen new collaborative commissions and two concert series, featuring guest artists such as Heloise Werner (The Hermes Experiment), Neil Luck, Laura Moody and Bastard Assignments, alongside performances of Jennifer Walshe, Florent Ghys, Cassandra Miller, David Lang, and many others.

In 2017, they recreated  two albums for live strings with Mercury Award-nominated singer Susheela Raman and performed internationally with Gondrong Gunarto Gamelan (Java) and Rizwan-Muazzam Qawwals (Pakistan)

Since 2015, they have worked with multi-sensory arts collective Bittersuite, creating large-scale immersive experiences, including Held,  a home listening experience developed in response to the Covid-19 crisis.

 

 

 

 

 

Fred Thomas curates an ongoing series at the legendary Sands Films Studios in Rotherhithe, inviting artists he admires to play duos or small ensembles followed by informal interviews delving into their artistic practice. Featuring Elizabeth Kenny, Abel Seloaocoe, Kit Downes, Dudu Kouate, Liam Noble, The Magic Lantern, Barnaby Keen, Saied Silbak, Julia Biel, Kadialy Kouyate, Preetha Narayana, Alice Zawadzki, Maurizio Ravalico, Ewan Bleach, Laura Jurd, Rob Luft, Elina Duni and Misha Mullov-Abbado. Production by Sands Films and Olivier Stockman.

https://vimeo.com/showcase/7971315/video/432915104

https://vimeo.com/showcase/7971315/video/435932297

https://vimeo.com/showcase/7971315/video/437873097

 

https://vimeo.com/showcase/7971315/video/450892296

https://vimeo.com/showcase/7971315/video/433153160

https://vimeo.com/showcase/7971315/video/442699746

https://vimeo.com/showcase/7971315/video/437915658

https://vimeo.com/showcase/7971315/video/453405535

 

 

 

 

Buy J.S. Bach’s ‘Air’ from Bandcamp here

Overture No. 3 BWV 1068, Air 
Composed by J.S. Bach 

Performed, recorded and mixed by Fred Thomas 
Mastered by Peter Beckmann 
Artwork by Fred Thomas 

Violin I: viella 
Violin II: viella 
Viola: viola da gamba 
Continuo: double bass & cello

Released April 2020



Alice Zawadzki – vocals, violin, piano

Misha Mullov-Abbado – double bass

Fred Thomas – piano, drums, strings

Inhabiting their own stylistic realm encompassing mediterranean folk song, chamber music, improvisation and the world of acoustic jazz, this trio comprises the award-winning singer, multi-instrumentalist and song-writer Alice Zawadzki, joined by two of London’s most distinguished musicians, Fred Thomas and Misha Mullov-Abbado. The clear synergy harnessed by these three musicians is the result of almost a decade’s work together, drawing upon the successes and singular abilities of its members: multi-instrumentalist, producer and composer Fred Thomas, whose recent exceptional album for ECM Records received 5 stars from Gramophone Magazine, Misha Mullov-Abbado, whose stature as bassist and composer has garnered commissions from the BBC Concert Orchestra, and Alice Zawadzki, described by The Guardian as “a genuine original”. The group plays acoustic chamber music, guided by a special emphasis on intimacy, delicacy of sound, space and subtle interaction, qualities which have led them to ECM Records, whose founder Manfred Eicher produced their forthcoming debut album in Lugano in 2023.

 

 

Alice Zawadzki is a vocalist, violinist, songwriter and composer based in London. Her work as soloist and collaborator has seen her gain considerable repute as “a force to be reckoned with” (CLASH) and a distinctive presence on the European music scene. Alice’s striking ability to transcend genres whilst retaining her own expressive musical style gives her a unique accessibility. A rich musical background and “whimsical hyper-creativity” (MOJO Magazine) create a sound which draws upon her early exposure to jazz, her classical training as a violinist, and a continuous exploration of improvisation, poetry, and folk music from diverse traditions, “all propelled in a voice of velvet suppleness and gutsy emotional power” (The Arts Desk). Her 2019 release, ‘Within You Is A World Of Spring’, was met with vigorous critical praise, including ‘Contemporary Album of the Month’ (The Guardian) and ‘Top 20 Albums of 2019’ (Jazzwise Magazine). 2023 opened with Alice’s bewitching new piece, ‘Bag Of Bones’, commissioned by the cutting-edge Manchester Collective. Performances included major venues such as the Wigmore Hall, Royal Albert Hall, Southbank Centre, Ronnie Scott’s, Taipei International Jazz Festival, Sűdtirol Jazz Festival, Ottawa Chamber Music Festival, Musicá Impopular and Usina Del Arte. – “A cornucopia of delights” – Jazzwise Magazine

Misha Mullov-Abbado is an in-demand bass player, composer and arranger based in London. A BBC New Generation Artist, he has released three albums on Edition Records; ‘Dream Circus’, ‘Cross-Platform Interchange’ and ‘New Ansonia’, all extremely well-received across Europe and the latter of which was included in “Best Jazz Albums of 2015” by The Telegraph and BBC Radio 3. Winner of the 2014 Dankworth Prize for jazz composition, Misha is an experienced composer and writes for jazz groups, classical soloists and ensembles. In 2019 Matthew Barley and the BBC Concert Orchestra gave the world premiere of Misha’s cello concerto at the Queen Elizabeth Hall as part of the EFG London Jazz Festival and commissioned by BBC Radio 3. After graduating from Cambridge, where he studied music and composition, Misha studied double bass at the Royal Academy of Music. He has been commissioned by a variety of musicians and ensembles such as Viktoria Mullova, the Norfolk & Norwich Festival, LSSO, Hill Quartet, Pelleas Ensemble, Hermes Experiment and North Sea Ensemble. He co-directs the Patchwork Jazz Orchestra, an exciting young big band and winner of the 2015 Peter Whittingham Award. – “Both his composing talents and his propulsive bass-playing are currently such hot UK jazz news” – The Guardian

Fred Thomas is an ECM artist and one of London’s most sought after multi-instrumentalists and composer/arranger/producers, known for his breadth of musical styles as well as for specialising in creative re-interpretations of J.S. Bach. He has appeared all over the world, performing in venues such as Berlin Philarmonic, Amsterdam Concertgebouw and Wiener Konzerthaus. Described as “a revelation” (Apple Music), “mesmerising” (BBC Music Magazine) and “a world of soulful dreaming that enraptures with its poetic images” (Das Bach Magazin), his debut on the ECM New Series label was “Three or One”, 24 pieces by Bach transcribed for trio and solo piano by Thomas himself. Of British and Argentinian background, he has collaborated with a huge variety of artists including Brian Eno, Yo-Yo Ma, Pierre-Laurent Aimard, Jordi Savall, Rachel Podger, Meredith Monk, Lianne Le Havas, Ethan Iverson, Larry Grenadier and Kees Boeke. With a discography of over fifty albums, his arrangements and transcriptions are published by Edition Wilhelm Hansen and he works regularly as Musical Director at Shakespeare’s Globe. As a producer, Thomas has overseen albums for labels such as Warner Classics and his recent compositions were performed internationally and at the Royal Opera House. – A boundary-blurring composer and improviser” – Gramophone Magazine

https://www.alicezmusic.com

https://mishamullovabbado.com

www.fred-thomas.co.uk

 

 

 

 

 

 

Complex counterpoint – the combination of multiple independent melodies into a single harmonic texture – has been noticeably under-explored in jazz. This project explores improvised, spontaneous counterpoint, seeking inspiration from one of the richest resources in all of Western music history: Baroque polyphony.

Transplanting polyphonic schemes (derived from J.S. Bach) to the most classic jazz standards illuminates an un-trodden path to this fundamental songbook repertoire, one in which the culture of consecutive solos is wholly renounced. This quintet of team players synthesise polyphony and improvisation in their approach to the jazz tradition. Immersed in a liquid texture two hundred years older than the birth of jazz, these astonishingly malleable songs are heard afresh as intertwining melodies coalescing into a harmonious whole. 

 

Fred Thomas (ECM, Brian Eno) – double bass
Martin Speake (ECM, Paul Motian) – alto saxophone
Mick Foster (Cleo Lain, LPO) – baritone saxophone
Phil Stevenson (Fofoulah, Iness Mezel) – electric guitar
Phelan Burgoyne (Dave Holland, Kenny Wheeler) – drums

 

Album coming soon.

 

 

 

 

 

 

 

 

 

Dance Suites – by Fred Thomas

 

This is a fascinating and musicologically daring concept. The basic form of the Baroque dance suite is maintained, but the actual movements are pic’n’mixed from the Partitas and French Suites: we open with a Sinfonia (Partita No 2) before proceeding to an Allemande (French Suite No 5), thence to a Corrente (Partita No 6), and so on. Two such ‘complete’ suites are presented.

If it were not for the persuasive pianism and musicality of Thomas, this would be easy to dismiss. It says much that he is almost as persuasive as Perahia in the latter’s DG recording in the Allemande of the French Suite No 5. Thomas lists Rosalyn Tureck as principal influence and there is a line of purity from first to last, delivered with a markedly multivalent touch. Remarkable.”

***** 5 stars – International Piano Magazine

a boundary-blurring composer and improviser”

“Assembled with the ingenuity of a seasoned DJ”

“beautifully ruminative…the serious care and thought characterising Thomas’ acoustic choices happily extend into his pianism” – Gramophone Magazine

Read Gramophone Magazine’s full review here

 

“Dance Suites” is released out now on Odradek Records. 

Meet the Artist‘ Fred Thomas Interview here

 

ARTIST STATEMENT

It took me a long time to pluck up the courage to record some of Bach’s solo keyboard music. Its emotional, intellectual, technical and spiritual demands seemed overwhelming. Twice I started only to quit the idea, daunted and feeling unready. Then, in a moment of lucidity, I wondered: when you’re dealing with the most miraculous body of human creation in all the arts, when are you ever ready? Life is short. Bach himself was not prone to procrastination. He produced a quantity and quality of music some consider literally unbelievable. 

I recorded alone with a huge piano, trying to coax the monster-machine into behaving well. Why the piano and not something ‘authentic’? For one thing, it’s my first instrument, but ultimately it’s a tired question, certainly in comparison with the sheer wonder of the music itself. In the end, the most scholarly ruminations on the abstractness of Bach, or on the piano’s range of articulation, or on the futility of pursuing authenticity in the absence of an authentic audience, just can’t match the sonic revelation that, played with some imagination, Bach sounds good on a tenor banjo – more on that soon.

His music is the most transcendent, all-encompassing, wise and child-like thing I know. In the words of Bernard Chazelle, “Bach’s music is soft and gentle, often suffused with piercing tenderness. If his work has an unmistakable child-like quality, it’s because its spiritual aspirations, borne of faith, joy, grace, and wonder, call for the deepest seriousness – and no one is more serious than the child”. I have the immovable feeling – knowledge, almost – that Bach fathoms and encircles everything.

John Cage considered music from the past useful only to the extent to which it leads to the creation of new things, a view far removed from the occasional dogmatism of the historical performance movement. Though I value both viewpoints, my aim lies somewhere in between: to derive something personal from a combination of historical enquiry and poetic imagination, using fantasy to supplement the fragmentary knowledge that contextual study reveals. Furthermore, the violation of chronology – my choice and ordering of tracks – is an attempt to give this record narrative force.

Creative recording techniques also played an aesthetic role. Using many microphones and basing their blended combinations on inherent musical character enables each movement to inhabit a unique soundworld. This process became genuinely interpretative, post-production. Although relatively under-explored in classical music recording (where the goal is often to reproduce the ‘natural’ sound of a live concert), my aim is to treat recording technique as an independent, exploratory art form.

 

Recorded at the Royal Academy of Music, London, March and June 2015

Engineered and Mixed by Alex Bonney

Mastered by Thomas Vingtrinier, Paris

Produced by Fred Thomas

Piano technician: Clive Ackroyd

Piano: Steinway D

 

 

 

“Three or One” is out now on ECM Records New Series.

www.ecm.lnk.to/ThreeOrOne

Here is Johann Sebastian Bach in transfigured light: with organ chorale preludes, vocal cantata movements and orchestral sinfonias – 24 pieces in all – transcribed for trio and solo piano by Fred Thomas, and threaded into a compelling new sequence by Manfred Eicher.

On Three Or One, Bach’s idiom is respectfully explored by three innovative players, a process Thomas describes as “quietly joyful,” and the trio pieces, primarily drawn from Bach’s Orgelbüchlein, acquire a fresh character in the hands of Kazakh violinist Aisha Orazbayeva and British cellist Lucy Railton, musicians more often associated with contemporary composition’s cutting edge.

Fred Thomas, who makes his ECM New Series debut here, has always worked across contexts and genres, and considers the trio’s wide-ranging experience “an incitement to creativity. Bach often re-used his own material and it is no surprise it came out differently each time. With his imaginative, technical and improvisatory powers, do we really believe that Bach would play the same thing the same way twice?” It’s a good question, and the key to the approach taken on Three Or One.

 

 

Fred Thomas – piano and transcriptions

Aisha Orazbayeva – violin

Lucy Railton – cello

 

https://www.ecmrecords.com/shop/1626246133/three-or-one-fred-thomas-aisha-orazbayeva-lucy-railton

 

 

“Mesmerizing…utterly beguiles…an illuminating if idiosyncratic Bachian” BBC Music Magazine

“Thomas’ ECM debut sees him elegantly arrange and reinvent a series of Bach sinfonias, vocal cantata and organ preludes” The Guardian

“Lyrical and haunting. It’s hard to know what Bach would have thought of it, but it does seem to reveal deep secrets in the music, and it is, well, very much like nothing anyone has heard before” All Music

 “Let this programme sink in over several hearings and the music will quietly insinuate itself into your next playlist” Gramophone

“One of the most transportive albums of the year” – Between Sound and Space

 “Fred Thomas is an astonishingly fine musician…highly effective, and deeply affecting” The Arts Desk

“Magnificent sonorities and meticulous transcriptions from Fred Thomas” – France Musique

Fred Thomas transfigures the master…interpreted with nuance and extreme sensitivity” FIP Radio

“The essence of Bach’s music is further magnified. A Bach record to be remembered” RTBF Belgium

“Immaculately conceived” – Mitteldeutscher Rundfunk

“Wonderfully musical, sensitively communicative” – Fono Forum

“Those led by their emotional response will be touched by Bach’s calm and grace. Church music becomes chamber music” – Stern

“Magnificently performed…Thomas manages to play Bach perfectly, or better still intimately…lively, current, eclectic, contemporary… A precious recording” Giornale della Musica

“Be prepared for something different from what you can possibly imagine” – Yellow Box

“This is a beautiful album that is flawless in its conception and execution and plunges the listener into Bach’s world with a fresh perspective and set of ears. Essential listening” – JazzViews

“Thomas has shown himself to be both fearless and deferential in his interpretations. He remains faithful to the source, radical in execution but beholden to the intention…an easy, joyful listen”  – Stereophile *****

“Intelligent and musical, sensitive and powerful…the pianist and magician Fred Thomas has created an opus that opens the ears; meditative and contemplative and at the same time expressly offering succour for our thoughts and feelings” – Neue Musik Zeitung

 

 

 

 

 

 

 

 

Recorded 2012/2018

University of Huddersfield,

courtesy of Pierre-Alexandre Tremblay

Engineers: Alex Bonney, Pierre-Alexandre Tremblay and Rob Sutherland (trios),

Elliott Parkin (solos)

Recording producer: Fred Thomas

Liner Photos: Phelan Burgoyne, Francis Fuego, Scarlett Casciello

Cover Photo: Manos Chatzikonstanzis 

Design: Sascha Kleis

Mastering: Christoph Stickel

Executive Producer: Manfred Eicher

 

An ECM Production

www.ecmrecords.com

Transcriptions by Fred Thomas, published and available to buy from Edition Wilhelm Hansen or Music Sales