sounding out is feeling a little rusty. don’t worry, cobwebs are not gathering on the keys, and my sax gets plenty of practice. but i have not been listening to the call of the wild as much. so it is such a pleasure to revisit places of greatness. those two caves are amongst my favourite spaces to resonate. both have a very unique and different atmosphere. a few seconds in rydal cave, and the constant dripping takes you into a different world. however, today has many distractions and people come in and out througout the session.
some nice encounters and cool conversations, but i am used to a more intimate connection to the space itself. normally, i only play to birds, and possibly maybe the spirit of the rock… or to quote some of my musical influences, ‘i talk to the wind’ and ‘the trees are all agreed’. the intention is not to create a spectacle for visitors, however, it’s nice to make someone’s day, and the smile of wonder as kids wave goodbye is kinda cool.
i may not be totally in the zone, but very excited to play this place. and i hope you can hear it…
wind in the reeds
alto saxophone, 13 april 2024
rydal cave
shapes in the shadows
alto saxophone, 13 april 2024
rydal cave
in contrast, cathedral cave is all stillness and suspension. but here too, groups of people visit the site until late. by then, it gets cold and tired, and the saxophone feels it. i still manage to get a good stretch out of this session. some abstract passages offer a nice relief but most of my playing is quite harmonic this time. i feel i’d like it to be more adventurous, but i do not choose what the space inspires. still, i think that the symmetrical shapes which have been my main focus give an interesting colour to my melodies. it is good to realise that what i have been practicing is gradually feeding into my playing, without having to think about it. you dig?
taking steps
alto saxophone, 14 april 2024
cathedral cave
peaceful at the top
alto saxophone, 14 april 2024
cathedral cave
down the cloughs and the hollows
alto saxophone, 14 april 2024
cathedral cave
slow drift
alto saxophone, 14 april 2024
cathedral cave
the ragged edge
alto saxophone, 14 april 2024
cathedral cave
mirrors
alto saxophone, 14 april 2024
cathedral cave
avalanche
alto saxophone, 14 april 2024
cathedral cave
nada has been a regular live stream for a while now. you can catch this on my bandcamp – follow this page so you get reminders.
gradually, i am starting to perform this set live again, in certain places of significance, ideally with great acoustics, and at times to groups of meditators, which is the main purpose of the series.
recently, i was really pleased to get an opportunity to play in sheffield cathedral, which is an amazing place, for one of the lunchtime recitals. the resonance of the place is beautiful yet subtle. the audience was spread across the very wide nave and some walked around to see the artwork on display. i noticed how attentive everyone was to the very detailed textures of my field recordings, and the ambience created by their natural resonance. there is a section where the energy in the space was really powerful: the cathedral responded brilliantly to the heart resonance and the sense of compassion and stillness were palpable.
such a pleasure to play in the cathedral. check out the recording:
previously, i performed a set in firth hall for the sound junction series of electroacoustic concerts. the sound was spatialised across 8 speakers, arranged as half circle surrounding the audience. diffusing the sound while improvising was a very exciting challenge. it was such a pleasure to perform in this really impressive space – an edwardian oak panelled hall that housed so many great performances. plus, it was really cool to hear my work on such high quality equipment. thanks to the sound junction guys for this opportunity.
One of the great virtues of meditating on the inner sound is that it easily supports both aspects of samadhi (meditative concentration): samatha (“shamatha” in Sanskrit, meaning calmness or tranquillity) and vipassana (insight). Samadhi can be described as the fixing of the mind on a single object for a period of time. And this singleness of focus, or one-pointedness, can function in two distinct ways. The first, which is the basis of samatha, can be thought of as “the point that excludes.” It’s like using the spot-focus beam of an adjustable flashlight to lock onto a single object and block out everything else.
The second way, the basis of vipassana, can be described as “the point that includes.” The one-pointedness expands into an awareness that makes the whole experience of the present moment the object of meditation. Using the broad-focus beam of the same adjustable flashlight, all the various aspects of the present—not just a single, brightly lit spot—are encompassed in the light of awareness.
for a year now, i have been improvising electroacoustic soundscapes as a basis for deep listening. this series of live streams is called nada. and i have been thinking in those terms, that most approaches to buddhist meditation are contained in this pratice. coming across this excellent article gives nice feedback in that i was right in my thinking. those sound meditations have been a really rewarding output that combine both my spiritual pratice and my creative and technical work. i hope this benefits many people.
if you would like to listen to the series, please check out my bandcamp page. you can follow to receive updates of the coming live streams.
cathedral cave is a very unique and wonderful place both in terms of atmosphere and acoustics. this time, the weather gives a very different quality to the experience of the place. i have been walking in the area in blazing sunshine, swimming in the clear water of lakes surrounded by beautiful landscapes.
i arrive to the cave tired, warm and pretty blissed out from such stunning scenery. the cool space provides a nice shelter from the heat. and although it is still busy that late in the day, the imposing presence of this carved architecture sets a strong mood that is serene.
the name of cathedral cave is well deserved.
here, time stops.
and from the very fist notes, i enter that very special place fully.
both evenings, i play for a period of time, blending melodic passages, progressions, and overtones, taking advantage of this unique and powerful reverb. some sections play with the different effects the space offers – the interplay of tones in the sustain is fascinating… two notes linger and dance in the space and each interval a different pattern. each triad swirls a different spin.
although the space mostly inspires a gentle play of tones and melody, more angular shapes find their way in the improvisations. symmetrical structures bounce across the spectrum from one axis to the next. geometric shapes climb the raw surface of the rock. a little slack in the rope allows for smudges of movement. chromatic whirls send phases off-center. the space responds and blesses the ear with stunning sound effects.
the first line
alto saxophone, 13 june 2023
cathedral cave
blurred boundaries
alto saxophone, 13 june 2023
cathedral cave
the space in between
alto saxophone, 13 june 2023
cathedral cave
wind swept plains
alto saxophone, 14 june 2023
cathedral cave
slack bounce
alto saxophone, 14 june 2023
cathedral cave
a study of small shapes
alto saxophone, 14 june 2023
cathedral cave
nada is an invitation to meditate with the sounds of the five elements, to heal body and mind with the songs from streams and rivers, from wind and trees, with harmonies that we intuitively relate to. this meditation practice highlights the relation between elements and emotions and our close connection to nature.
sculpted from the sounds of natural elements, these listening meditations are electroacoustic performances that draw from many years of practice as a composer and improviser, from qi gong, buddhist practice and meditation.
with the practice of mindfulness of listening, one is invited to reflect on perceptions, thoughts and reactions, on our connection to the elements internally and externally, as we delve deep into the observation of subtle sensations. all key aspects of buddhist meditation are integrated into this one practice, so there is no multiplicity of approaches.
the narratives that unfold, following the natural movements of the recordings, and the changes in mood during the performance keep the listener engaged while the live processing that playfully reshape known sounds may incite close attention conducive to meditative states of concentration.
another important aspect of the work is the use of resonant frequencies found in natural sounds, especially selecting and sculpting tonalities used in sound and vibrational therapy. it is like a gong bath, but using healing frequencies from nature: the harmonies are specific to a time and place, and the element recorded.
each performance is unique as i intuitively select the aesthetic, atmosphere and tonalities i use moment to moment. improvisation as approach and method allows me to adapt what sounds i use, what resonance to focus on, so the music flows and connects with the audience.
i offer these performances as livestreams on the bandcamp platform in a series called nada, so that people can meditate in the comfort of their home.
i am also available to travel to buddhist, meditation, yoga centres, etc. who are willing to accommodate such events for groups of experienced meditators.
technical details:
i use 1 performance laptop + usb audio interface optional x2 microphones and mike stands [when using a collection of meditation bowls and bells, etc.] 1 streaming laptop + usb mixer h5 zoom recorder multiplug extension cable, misc connectivity
required from venue power or extension cable to the performance area low table and meditation seat amplification – high quality stereo speakers, able to reproduce a high range of frequencies and wide stereo image [i can bring suitable speakers if needed, tbc]. possible multichannel diffusion via ADAT additional – table or support for streaming laptop stable wi-fi internet access for live stream
contact:
nexttimerv_at_hotmail_dot_com
reviews:
“I found this work intriguing and at times beguiling […] and I realised that by having more to pay attention to, my meditation sessions could be sustained for a longer time by Hervé’s listening meditations”
It’s been a magical experience, following you in this sound journey, deeply listening with open heart and ears. Lukas M – audience member
* Hervé’s live improvisations transport you onto a journey which is at once sensorially relaxing and awakening. Through his unique use of texture, rhythm and space he is able to keep the audience on their toes whilst grounding them into an uninterrupted state of flow from start to finish. A powerful sonic experience! Lorenzo P – audience member
*
Thoroughly enjoyed falling back into the really clear three dimensional soundscape. Dave P – audience member
*
These are absolutely magic journeys for drifting off… Thanks for the calming moments. Phil I – audience member
i spent two days across moorland chasing after deer sounds, fawning across the fern and forests for close encounters. finally had a long and silent eye contact with the big dude. not a single sound. on the last evening, nearly out of earshot of constant distant traffic, i find antlers clashing and guttural calls… proved to be worth the wait.
for a change of scenery and ticks removed, i head down the valley to a small church in the village of stoney middleton, tucked away in the rocks. the space is open and bright, the sound welcoming. it is a quiet morning and the light filters through and gently lifts the faded colours of this interesting interior.
skylines
alto saxophone, 14 oct 2022
st martins, stoney middleton
harvest
alto saxophone, 14 oct 2022
st martins, stoney middleton
rolling free
alto saxophone, 14 oct 2022
st martins, stoney middleton
the bell calls
alto saxophone, 14 oct 2022
st martins, stoney middleton
Travelling north, a short stop in the middle of Scotland, amidst splendid scenery, mountains bathed in magic light, and broody skies, i found a wee church that was open and welcoming. Surprised by the gentle inspiration, i played in unexpected style for a while. Amulree church.
wind hill
alto saxophone, 10 june 2021
amulree church
weaving history
alto saxophone, 10 june 2021
amulree church
the round mount song
alto saxophone, 10 june 2021
amulree church
I have paid many visits to this majestic cave, and every time enjoyed its amazing resonance, deep vibe and rich inspiration. This year, for the first time, the water levels are so low that there is no waterfall in the adjacent chamber, and so the main space is a lot quieter, giving maximum resonance to the cave, which is now inhabited by a range of birds. Their cries punctuate the improvisations which go late into the evening. As usual, there are visitors that come in and out, some stay and listen, but mostly, i have stretches uninterrupted to record. And because of this unique opportunity, and the very special occasion of finding the cave so quiet, i decided to spend more time.
I returned twice on my first visit, and again, two nights in a row after exploring the area and spending a few days in solitary, tucked away in the mountains. This period of meditation has been amazing, and the energy of the mountain is deeply moving (or stilling…). Close to the elements, exposed and yet under the protection of imposing hills, the benefits of this period of retreat is indescribable.
Each day of this series of recordings in Smoo Cave was very different. The inspiration yielded music of different character and the vibe was strickingly different. Here is a selection from each session.
shine
alto saxophone, 12 june 2021
smoo cave
constellation no1
alto saxophone, 12 june 2021
smoo cave
mantra for the dakinis
alto saxophone, 12 june 2021
smoo cave
circular shapes
alto saxophone, 13 june 2021
smoo cave
constellation no3
alto saxophone, 13 june 2021
smoo cave
fermion eleven
alto saxophone, 13 june 2021
smoo cave
when all return
alto saxophone, 13 june 2021
smoo cave
nebulous
alto saxophone, 13 june 2021
smoo cave
gentle power
alto saxophone, 13 june 2021
smoo cave
mila’s rag
alto saxophone, 13 june 2021
smoo cave
solitary hill
alto saxophone, 13 june 2021
smoo cave
the unspoken cartwheel
alto saxophone, 17 june 2021
smoo cave
after the wind
alto saxophone, 17 june 2021
smoo cave
three steps
alto saxophone, 17 june 2021
smoo cave
touch the earth
alto saxophone, 18 june 2021
smoo cave
cath’s wheels ride
alto saxophone, 18 june 2021
smoo cave
the other side
alto saxophone, 18 june 2021
smoo cave
While travelling through North Yorkshire earlier this year, i came across two churches that were open. A rare treat these days… so i could not resist a little sonic exploration.
travelling
alto saxophone, 20 may 2021
east witton church
flow patterns
alto saxophone, 20 may 2021
east witton church
blues for swirling leaves
alto saxophone, 21 may 2021
st oswalds church, hauxwell
Very excited about this new release with my good friend and bass player Gus Garside.
The album has been released by New York label 577, and you can stream it on bandcamp, or listen using the player below.
Meeting for the first time as an acoustic duo in their collaborative album, The Unexpected Visitor, UK-based musicians Gus Garside and Hervé Perez explore the musical interpretations of a 13th Century Poem, “The Guest House” by Rumi. The album captures a series of improvisations played between March and May 2020, before and during the official UK lockdowns, some recorded in the same room together, some individually by each musician at home. This album is a selection of music from their original session and their telematic at-home improvisations, woven together by Rumi’s naturally evolving poetic narrative. Informed by the practice of deep listening, the musicians composed the album with angular melodic lines and abstract passages, exploring the resonant qualities and structural design of the saxophone and double bass. The tracks offer reflective and inviting duets, embodying the transient curiosity and sincere openness of the poem they’re inspired by, “This being human is a guest house / Every morning a new arrival.”
credits
released February 20, 2021
Gus Garside – Double bass Hervé Perez – Saxophone
Recorded by Hervé Perez & Gus Garside, in March-May 2020 The first session recorded in Brighton, UK. Subsequent sessions recorded with both players in their own homes, while improvising in real time online, connected via low-latency software.
Mixed and mastered by Hervé Perez at nexttime studios
Photo by Hervé Perez Album design by Mark Smith
All music by Gus Garside (PRS) and Hervé Perez, 2020
Reviews
“/ The Unexpected Visitor / is a conceptual work of excellent workmanship… in which the evident skills of the two musicians are effortlessly highlighted.”
“Gus Garside and * Hervé Perez * must be given credit for having recreated a coherent and full-bodied sound flow, where almost all the pieces of the mosaic are in their place.”
Giuseppe Vitale – radioaktiv.it
“The bass and sax duo are highly practised improvisers who bring an atmospheric clarity to their music that reflects their close heeding of each other. There are also less-tangible selections that replicate and resonate the inherent mood of what this music is about…
This music is contemplative and peace-making and I think it appropriately reflects spiritual concerns.”
Ken Cheetham – Jazzviews
“The key to such enjoyment rests with the playing of Garside and Perez, their listening and reacting to one another, their empathy and mutual respect. Both players are fluent and fluid on their instruments, adept at producing melodic passages and deep rich tones, leading to some exquisite exchanges between them. When the occasion arises, they can each veer off to explore the outer limits of the capabilities of those instruments rather than always remaining in safe territory. The combination of all these ingredients is an album of great variety which handsomely repays repeated listening and seems guaranteed to do so for years. This should not be this duo’s only recording.”
John Eyles – All About Jazz
“Perez’s wide drones and sul tasto buzzes from Garside push the sequence to its furthest, most multiphonic reaches without losing close communication. From that point on the duo alternates between stretches of barely-there sequences to lyrical motifs that feature clarion reed peeps and cello-pitched string rubs in sequence exploration.”
Ken Waxman – Squid’s Ear
Cet Unexpected Visitor est plutôt du côté jazz libre dans un magnifique dialogue entre la contrebasse puissante et charnue sans chichi de Gus Garside et les spirales subtiles du sax ténor d’Hervé Perez dans les arcanes des modes et des possibilités mélodiques qui en découlent….
De son excellente technique et de sa connaissance des structures musicales, Hervé Perez crée un univers chaleureux et introspectif autour de liens mélodiques subtils, tirant parti de chaque couleur propre aux intervalles sans à-coup, la surprise se révélant une fois le rêve estompé. Qu’il lui livre discrètement un écrin ou qu’il s’agite à frictionner les cordes sur la touche en zig-zags énergiques (03 The Lover), le jeu profond et la pensée musicale de Gus Garside s’applique à démultiplier ses propositions afin d’enrichir la palette collective du duo, les occurrences du développement musical, les options qui alimentent inlassablement, l’intérêt de celui qui écoute, médite, s’émerveille.
Jean-Michel Van Schouwburg – Orynx
The Guest House
This being human is a guest house. Every morning a new arrival.
A joy, a depression, a meanness, some momentary awareness comes As an unexpected visitor.
Welcome and entertain them all! Even if they’re a crowd of sorrows, who violently sweep your house empty of its furniture, still treat each guest honorably. He may be clearing you out for some new delight.
The dark thought, the shame, the malice, meet them at the door laughing, and invite them in.
Be grateful for whoever comes, because each has been sent as a guide from beyond.
Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.
Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.
The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.
**
One year on, a new listening meditation performed at the Sheffield Buddhist Centre to experienced meditators. The practice based on nada, the sound of silence, invites the audience to use the continuously evolving soundscape as support for meditation. Bringing the awareness to details and texture or to the entire balance of sounds and its evolving narrative bears similarities with mindfulness of breathing. One aims to become immersed in the sonic world presented, in all its details, and also observe the interaction between parts and the unfolding narrative.
This performance is a good example of the use of electroacoustic material; a more minimal approach than in experimental contexts. The focus is on the resonant frequencies of the five elements, beat frequencies, entrainment, and deep listening to field recordings of natural sounds.
nexttime studio 