“Supersam + 1” is a series of master performances. The project focuses mainly on music, however, it also includes other forms of expression such as: performance, multimedia, monodrama. “SUPERSAM + 1” will present respected Polish and foreign artists whose work is original, experimental and innovative.
“SUPER” in the title means that the programme will be based on renowned artists – masters.
“SAM” (from Polish, means „alone”, "by himself/herself") refers to the solo performances as well as the creative loneliness.
“+ 1” in the title means that each evening will be crowned with a duo performance. In most cases, the artists will meet on stage for the first time.
The idea of the name “Supersam” in relation to solo concerts was conceived by clarinettist Jerzy Mazzoll, who organised a series of concerts in Plama club in Gdańsk. The place used to be a local self-service grocery shop that was in 80/90’s was called “supersam”.
Later, in 2013, the project under the name “Supersam” was organised in Bydgoszcz in Mózg. In 2015, during the Warsaw part of the 11th Mózg Festival, a part of the programme was a series of solo concerts. The programme was created in a way that each evening contained two solo performances. An idea was born to match the artists, who have never played together before, in duos. For many of them, meeting on stage was also the first meeting in their lives.
In 2016, the first edition of the project entitled “Supersam +1” took place. 16 artists presented themselves then. Further 3 editions will be organised in the years 2017-2019.
Each evening includes a performance of one artist from abroad and one from Poland.
All invited artists will present their premiere works that have never been performed before. The duos themselves will also be premieres since the artists will be performing together for the first time and creating the newest possible pieces.
The stay of the artists is planned in a way that will enable them to meet local artists and audience. Video recording of all activities and production of documentary films constitute the additional part of the project, which aims at presenting the artists in a close-up.
Sławek Janicki
project curator
interprets contemporary music. He co-operated closely with many composers showing them the potential of natural and prepared tuba. His repertoire is very diverse, from his own transcriptions of the works of old-time masters to the newest achievements of contemporary music. He was the first tuba player in Poland to use harmonics, glissando, flutter-tonguing and synthetic chords while playing this instrument. He prepared his tuba by attaching a trumpet, saxophone or trombone bell, using a bassoon and saxophone mouthpiece as well as all sorts of mutes. This process makes the tuba an instrument with four different tone colours and enables the player to produce sounds far from the tuba’s natural tone.
For 30 years David Moss played a giant percussion set-up. Today he creates tabletop solos and sings in music-theater; works with Sam Auinger (electronics), Lillevan (video) and the minimal groove trio, Denseland. 2017 projects include “Goldberg Incantations” (Bach’s Goldberg Variations, for piano and voice) with Daan Vandewalle. Moss sang in Luciano Berio’s “Cronaca del Luogo”, and in the notorious 2001 Fledermaus production, both at the Salzburg Festival. He is artistic director of the Institute for Living Voice, and moved to Berlin with the DAAD Berlin Artist Program in 1991.
is a sound artist, composer and electroacoustic improviser engaging with interactive electronics as compositional/performative process. She is especially known for her pioneering gestural/textural performance approach on her electronically processed accordion, and investigation of embodiment and chance with her self-designed virtual sound-processing instruments. Andrea Parkins presents her solo performance project, scored for electronically processed accordion, amplified objects, small instruments and laptop electonics. Parkins’ works include performances, sound installations, ensemble pieces, electronic compositions, and live sound design for contemporary dance, film and intermedia performance.
is a guitarist, composer, performer, improviser, cultural animator and an explorer of musical folklore. He received jazz and classical education, expanded by musicology and thnomusicology. A combination of the two is an indicator of his style in terms of composition and performance. He is closely involved in Jewish culture. He explores its forgotten tradition and shifts their meaning into modern times. Primitive music of America, blues and rock music of 60’s is another significant part of his inspirations. In depth analysis of guitar techniques of classical blues guitarists and knowledge about the instruments of 50’s and 60’s is the foundation of his sound.
was born in Darmstadt and then moved to Berlin. His approach to music is all about the transformation of sound, about translating parameters of popular music into abstract, reduced and textural electronics. Bypassing the rules of traditional musicianship, he prefers to construct collages from tiny sound fragments, from the lost-and-found products of samplers, tape recorders, media players and other recording implements. To this end, Jan Jelinek often works with loops and slight modulations to distil the gist of a piece of music and define it more clearly while masking its original source.
is a musician living in Warsaw. He is known for projects such as Piętnastka and his solo albums released in Poland and abroad. He co-operated with theatre and modern dance groups: TR Warszawa, Stary Teatr, Lubelski Teatr Tańca, Centre Chorégraphique National de Rillieux-la-Pape and Paper Tiger. He is the author or co-author of many instrumental projects such as: Heroiny, Suaves Figures (with Sylvie Monnier), Piętnastka (with Hubert Zemler), ABRADA (with Francesco de Gallo). He participated in theatre and music festivals such as: Unsound, Malta Festival, CTM, UH Fest, OFF Festival.
Peter Brötzmann is a German saxophone and clarinet player. He is said to be one of the most important characters of free jazz and improvise music. His style is harsh and wild but also lyrical. His energetic style of playing was named brötzen and that gave him the name of the “loudest saxophone player in the world”. He also plays the clarinet and a Hungarian brass instrument tàrogató. Brötzman’s sound is very direct and his solos are often very intense. He did not forget the traditional jazz structures and themes play a big part in his music while his improvisation is often based on melody. This features are also significant for Albert Ayler, who is one of Brötzman’s inspirations.
is a double bass player, a documentary film-maker, tv producer and a cofounder of Mózg club in Bydgoszcz. As a musician he started his activity in the 80's in the band Henryk Brodaty. He co-created bands: Trytony, Arhythmic Perfection, Pieces of Brain and Arhythmic Brain. He is a very active musician, film-maker and visual artist in Europe and Australia, where he spent about 7 years of the previous decade. As a double bass player he uses unconventional playing techniques. He is entirely devoted to improvised and intuitive music.
is a saxophone player, percussionist and composer. He is largely selftaught, having taken up the cornet at age 12 then switched to saxophone at 18. Since the 1960's, he has been at the forefront of many innovations within the Jazz/World and Improvised Musical areas both as a saxophone player, percussionist and composer. He is the only founder member of The Spontaneous Music Ensemble still alive. He also founded Amalgam and his 1980s Moire Music Group. Currently (2016) his main involvement is one part of a long standing duo with pianist Veryan Weston. This duo have been highly acclaimed for their recordings and “live” appearances. New solo saxophone CD in 2014 called “Veracity” which has been highly acclaimed.
had his debut at the age of 16 when he was playing in an avant-garde band called 'Niebieski Lotnik' witj Jerzy Mazzoll and Jacek Olter. He participated in a movement defined as yass stage and cooperated with its creators: Tymon Tymański, Mikołaj Trzaska and Tomasz Gwinciński. For many years he played in Leszek Możdżer's bands. In the years 1996-2004 Walicki played and recorded Kwartet Zbigniewa Namysłowskiego. He co-created a free jazz band Łoskot as well as pop-alternative Szwagierkolaska, Oczi Cziorne group and the late makeup of the band Miłość. He participated in recording several dozen of stylistically varied albums, he also recorded music for theater and film. For over ten years his projects have been released by his own label.
is a lone voice in electronic music. Few people thread as challenging and intriguing live shows as him, where dark wave, krautrock, post everything and techno all sit together in haunted hardware harmony. His own Morphine label is just as sonically unpredictable so are his own cultured remixes or stunning long players such as the immediately timeless and standout ouvre that was ‘What We Have Learned’.
is an icon of jazz avant-garde in Poland. He seeks common grounds between Chasidic music and contemporary improvise music. He plays the saxophone, bass clarinet and he is also a composer. He grew up on yass, which is an artistic and social movement of 80’s and 90’s that rebelled against the brassbound of Polish jazz environment. Together with a group of friends they changed the image of Polish jazz music. Trzaska was the co-founder of yass’s most important group, the legendary Miłość and the equally creative Łoskot.
(born 1957) is an experimental singer originally from Tuva. She is best known for her Tuvan throat singing or Khöömei.
The scale of her voice extends over 7 octaves. She studied at the University of Kyzyl and in the Gnessin Institute in Moscow. She has been living in Vienna for more than a dozen years.
is a musician, composer, sound engineer in Studio Eksperymentalne Polskiego Radia. He received commissions for electronic music compositions, recorded albums as well as music for theatre and film. He co-operated with the international festival of contemporary music Warszawska Jesień and Polskie Towarzystwo Muzyki Współczesnej. At the same time, he started playing concerts with groups performing intuitive music. The first band was Cytula Tyfun da Bamba Orchester. Later, he performed with Helmut Nadolski, Andrzej Mitan, Andrzej Przybielski, Włodzimierz Kiniorski. For many years, he has been working with Tomasz Stańko – Freelectronic. His individual work playing, recording and transforming sounds was described as Studio Dźwięków Niemożliwych (Studio of Impossible Sounds).
Teatr Powszechny ul. Zamoyskiego 20, Warszawa
Telefon: +48 661 574 508
Kontakt dla prasy: pr@mozg.art.pl
