Cyril Bondi: drums, objects
D’incise: laptop, objects
Rafal Mazur: acoustic bass guitar
Dragos Tara: one string bass, laptop
Recorded in Krakow, 07.07.2010
Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordï¿½, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moimï¿½me in Portugal, Hannah Marshall in Engla! nd, Rafal Mazur in Poland or HKM+ in Germany.
Rafal Mazur’s involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980’s. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others.! His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur’s main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser’s attitude, and to this end he practices the Taoist’s martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of collective free improvisation.
Composer, double bass player and electronic musician, Dragos Tara spends his time between composition and improvisation.
His musical and extra-musical collaborations are motivated by an interst in the game theory, the dive! rsion of social rituals and the extension of instrument and body by technology.