GOLDSTEIN / WIENS DUO – Friday July 15, 2016 @ Resonance Café

Posted by rwiens on 28th June 2016 in Upcoming Shows

GOLDSTEIN/WIENS DUO

Friday July 15, 2016 @ Resonance Café, 5175 Ave du Parc (coin Fairmount), Montréal
Rainer_Concert

Orchestra of Sympathetic Strings

Posted by rwiens on 17th October 2013 in Upcoming Shows

Orchestra of Sympathetic Strings

5 Generations of Montreal’s finest improvising string musicians perform

the music of Rainer Wiens

 

The duo of Malcolm Goldstein violin and Rainer Wiens prepared guitar are joined by:

Jean René & Jennifer Thiessen,viola

John Corban & Guido del Fabro, violin

Emilie Gerard Charest,cello

Nic Caloia, Aaron Lumley & Thiery Amar, double bass

 

Sala Rossa Nov.10, 21:30 heures

$10

Upcoming Concert:MELLA MELLA + GOLDSTEIN WIENS

Posted by rwiens on 11th January 2014 in Upcoming Shows

Rainer poster (2)

Malcolm Goldstein violin Rainer Wiens Prepared guitar
MELLA MELLA Thom Gossage and Rainer Wiens kalimbas

4873 Boulevard Saint-Laurent, Montreal, Quebec

Various Tracks

Posted by rwiens on 29th May 2014 in Listen to Music

Take a listen to these tracks from various CD’s:

Fra Ma Ga Ra

Totina

A Complicated Sadness

Double Up

Shh… Whisper to the Wind

November Shows…

Posted by rwiens on 5th November 2014 in Upcoming Shows

Malcolm Goldstein Violin & Rainer Wiens Guitar

AND

Electric Spring Trio

Thom Gossage – electric spring kalimba

Frank Lozano – sax, alto flute

Rainer Wiens – guitar, electric bass kalimba

November 26th
Résonance Café 5175A ave.du Parc
$10

Introduction to Infinity: Rhythm and Improvisation Workshop

Posted by rwiens on 27th April 2015 in Music & Rhythm Workshops, Music/Rhythm Workshops
Rainer Wiens

Rainer Wiens

Introduction to Infinity: Atelier du rhythme et d’improvisation avec Rainer Wiens présenté par Studio d’Improvisation de Montréal.

**email studioimpromontreal@gmail.com to sign up!

Un atelier qui donne les outils aux improvisateurs pour créer une approche personnelle de rythme. Ouvert aux musicien(ne)s de tous les styles, toute sorte des instruments, et niveaux d’expérience////A workshop about giving improvisers the tools to create a personal approach to rhythm. Open to musicians of all styles, any instruments, and all levels of experience.

This workshop will be given in English and French.
L’atelier se donnera en français et en anglais.

(for English, scroll down)

Rainer dit:
”Je pense à mon approche de rythme comme étant modale. Au lieu de penser à la verticale (one ee and a ,2 ee and a) -Je pense d’unités longues et courtes de pulsation disposés dans des schémas rythmiques mélodiques cohérentes. Je crois qu’un rythme forte implique déjà une mélodie.

Dans les rythmes modales, forts accents sont déterminées par la nature de l’expression rythmique, non pas par le downbeat. Lutter contre la gravité des downbeats est la partie la plus difficile, mais conduit à des nouveaux rythmes frais. Un grand nombre des rythmes dans le cours sera présenté oralement en premier. Les rythmes sont faciles à entendre en raison de leur cohérence, même se ils l’air bizarre sur papier, car ils ne sont pas cliché.

Le cours est une introduction, mais donnera aux participants un processus par lequel ils peuvent travailler sur leurs propres nouvelles façons de manifester rythme pendant les 10 prochaines années.”

Rainer Wiens est l’un des guitaristes créatifs de pointe au Canada. Connu également pour sa profonde compréhension du rythme et son imagination sonore, son travail en tant que compositeur improvisateur vien des puits profonds: les traditions de kalimba africain, les abstractions de guitare préparée, et l’interaction de groupe de jazz. En tant que vétéran respecté de la musique créative, Rainer a des collaborations de longue date avec Malcolm Goldstein, Jean Derome, et Thom Gossage, et a parcouru le monde à la recherche de nouveaux sons, de collaborer avec des musiciens et des danseurs partout.

Les frais pour le cours est de 25 $. Les places sont limitées, alors inscrivez-vous maintenant à studioimpromontreal@gmail.com.

————————

Rainer says:
”I think of my approach to rhythm as being modal. Instead of thinking vertically (one ee and a ,2 ee and a) -I think of long and short units of pulsation arranged into coherent rhythmic-melodic patterns. I believe a strong rhythm already implies a melody.

In modal rhythms strong accents are determined by the nature of the rhythmic phrase, not by the downbeat. To fight the gravity of downbeats is the most difficult part ,but leads to fresh new rhythms. A lot of the rhythms in the course will be presented orally first. The rhythms are easy to hear because of their coherence even if they look strange on paper because they are not cliched.

The course is an introduction but will give participants a process whereby they can work out their own new ways of manifesting rhythm for the next 10 years.”

Rainer Wiens is one of Canada’s leading creative guitarists. Known equally for his profound grasp of rhythm and his sonic imagination, his work as an improvising composer draws from the deep wells of African thumb piano traditions, prepared guitar abstractions, and the group interplay of jazz. As a respected veteran of creative music, Rainer has longstanding collaborations with Malcolm Goldstein, Jean Derome, and Thom Gossage, and has traveled the world in search of new sounds, collaborating with musicians and dancers everywhere.

The course costs $25. Space is limited, so sign up now at studioimpromontreal@gmail.com.

RAINER WIENS invitation

Posted by rwiens on 27th April 2015 in Uncategorized

28 aout / August 28th – Montréal Concert

Posted by rwiens on 19th August 2015 in Upcoming Shows
l'Envers's photo.
Friday, August 28 at 9:00pm
1214 de la Montagne

Mella Mella – Mystery and Joy

Posted by rwiens on 5th October 2015 in CD Albums

I first started playing kalimbas and other lamellaphones while working for choreographer Lucie Gregoire in 2001. At the time there was an African store called Giraffe on St.Denis. When I would walk in the staff would bring out 30 or 40 kalimbas for me to try and I would leave with 3 or 4 of them.

At the time I was at the beginning of an ongoing examination of rhythm that continues to this day. Because of the layout of the kalimbas (left thumb, right thumb) they lent themselves to exploring melodic polyrhythms, positive and negative rhythms, palindromes and rhythmic canons. To date I have written over a thousand pages of rhythmic ideas, explorations, exercises and compositions.

I was living close to Thom Gossage and thought it would be fun to try out these ideas in a duo format. Each of the kalimbas had a name, written in black magic marker, and we started putting pairs together. I would bring rhythmic sketches, we would learn to play them and then improvise. Most of our rehearsals were done outside, much to the delight of marauding gangs of three year olds.

Over the years we would record a dozen pieces annually and before my hard drive imploded (“Wow I’ve never seen a computer do that before”) we had about 150 compositions. Time passed and the commercially non existent duo became even more non existent.

Several years ago I started writing new pieces for kalimba duo. These were longer, multi part pieces which were quite difficult and it took a long time to be even able to hear the rhythms correctly. We recorded these new pieces and originally they were the ones I had wanted to release. To my dismay and surprise, I preferred the recordings we had done ten years earlier. This disturbed me at first because I believed and wanted to believe that as musicians get older, the music becomes richer, deeper and more assured, yet I preferred the older recordings. There was a lightness and joy that the newer duos lacked.

I rewrote some of the new duo pieces for solo kalimba, then spent over 6 months working on them 6 to 8 hours a day until they felt natural and then went into the studio to record them. Dino Giancola, engineer and calm positive presence, did his usual fantastic job giving the music nuance, detail and clarity.

MELLA MELLA – MYSTERY AND JOY/MYSTÈRE ET JOIE

Posted by rwiens on 8th October 2015 in CD Albums

Mystery-and-JoyJ’ai commencé à jouer des kalimbas et autres lamellophones en 2001, au cours d’un contrat avec la chorégraphe Lucie Grégoire. Il y avait alors sur la rue Saint-Denis une boutique africaine appelée Girafe. Chaque fois que j’y entrais, les employés me présentaient trente à quarante kalimbas pour que je les essaie et je sortais invariablement avec trois ou quatre d’entre eux.

À l’époque, j’ai entamé d’une analyse rythmique approfondie qui se poursuit encore aujourd’hui. Par la disposition de leurs lamelles et grâce au doigté utilisé pour en jouer (pouce gauche, pouce droit), les kalimbas se prêtaient à l’exploration de polyrythmes mélodiques, de rythmes positifs et négatifs, de palindromes et de canons rythmiques. À ce jour, j’ai écrit au-delà d’un millier de pages d’idées rythmiques, d’explorations, d’exercices et de compositions.

J’habitais près de chez Thom Gossage et j’ai pensé qu’il serait amusant de tester ces idées en duo. Chacun des kalimbas avait un nom inscrit au marqueur noir, et nous avons commencé à les grouper par paire. J’apportais des esquisses rythmiques, nous apprenions à les jouer et improvisions ensuite sur celles-ci. La plupart des répétitions avaient lieu à l’extérieur, pour le plus grand plaisir des bandes errantes de gamins de trois ans.

Nous enregistrions annuellement une douzaine de pièces, et avant que mon disque dur implose (« Wow! Je n’ai jamais vu un ordinateur faire ça… »), nous avions environ 150 compositions. Les jours passèrent et le duo sans existence commerciale devint définitivement… non existant.

Il y a plusieurs années, je me suis mis à écrire de nouveaux duos pour kalimbas. Ces pièces à plusieurs parties étaient plus longues, techniquement plus difficiles, et exigeaient davantage de temps pour entendre les rythmes convenablement. Nous avons enregistré ces « nouvelles pièces » qui, à l’origine, étaient celles que je souhaitais distribuer. Mais, désarroi et surprise : je préférais les enregistrements que nous avions réalisés dix ans auparavant. Cela me perturba, car je croyais et voulais croire qu’avec la maturité du musicien la musique devenait plus riche, plus profonde et plus assurée; pourtant, j’aimais mieux les anciens enregistrements. Ils dégageaient une légèreté, une joie, qui manquait aux nouveaux duos.

J’ai converti certains des duos récents en solos, puis passé plus de six mois à travailler sur ceux-ci, six à huit heures par jour, jusqu’à ce qu’ils me semblent naturels, pour ensuite les enregistrer en studio. Comme d’habitude, l’ingénieur du son Dino Giancola avec sa présence calme et positive a réalisé un superbe travail, donnant à la musique nuance, détail et clarté.

 

MELLA MELLA – MYSTERY AND JOY

Mella Mella - Mystery-and-JoyI first started playing kalimbas and other lamellaphones while working for choreographer Lucie Gregoire in 2001.At the time there was an African store called Giraffe on St.Denis Street.When I would walk in the staff would bring out 30 or 40 kalimbas for me to try and I would leave with 3 or 4 of them.

At the time I was at the beginning of an ongoing examination of rhythm that continues to this day.Because of the layout of the kalimbas (left thumb, right thumb)they lent themselves to exploring melodic polyrhythms,positive and negative rhythms,palindromes,and rhythmic canons.To date I have written over a thousand pages of rhythmic ideas,explorations,exercises,and compositions.

I was living close to Thom Gossage and thought it would be fun to try out these ideas in a duo format. Each of the kalimbas had a name, written in black magic marker, and we started putting pairs together. I would bring rhythmic sketches,we would learn to play them, and then improvise. Most of our rehearsals were done outside, much to the delight of marauding gangs of three year olds.

Over the years we would record a dozen pieces annually , and before my hard drive imploded(“Wow I’ve never seen a computer do that before”)we had about 150 compositions.Time passed and the commercially non existent duo became even more nonexistent.

Several years ago I started writing new pieces for kalimba duo.These were longer,multi part pieces which were quite difficult,and it took a long time to be even able to hear the rhythms correctly.We recorded these new pieces and originally they were the ones I had wanted to release.To my dismay and surprise,I preferred the recordings we had done ten years earlier.This disturbed me at first because I believed and wanted to believe that as musicians get older,the music becomes richer,deeper and more assured,yet I preferred the older recordings.There was a lightness, and joy that the newer duos lacked.

I rewrote some of the new duo pieces for solo kalimba,then spent over 6 months working on them 6 to 8 hours a day until they felt natural and then went into the studio to record them.Dino Giancola,engineer and calm positive presence,did his usual fantastic job of giving the music nuance,detail and clarity.