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Tapiwa Svosve grinds saxophone sounds into the sewage system

Young jazz saxophonist Tapiwa Svosve (*1995) was awarded one of this year’s BAK music prizes. Svosve does not commit himself to any particular style, switching agilely between free jazz, ambient, noise and progressive rock. However, his musical practice is firmly rooted in the jazz tradition.

The jazz saxophonist Tapiwa Svosve from Zürich / Porträt zVg. Tapiwa Svosve.

Jaronas Scheurer
Tapiwa Svosve already achieved a lot, considering his young career: shortly after graduating from Zurich Jazz School, he won the ZKB Jazz Prize with the band District Five, followed by a performance with jazz legends Hamid Drake and William Parker and a year of work for the City of Zurich, where he organised and curated the Zurich Taktlos Festival and co-founded transdisciplinary art collective Gamut. He has performed in productions by the celebrated artist and filmmaker Wu Tsang, made music for the Louis Vuitton fashion show, released numerous albums – solo, with his various bands or, for example, the album The Sport of Love in 2023 with American electronic producer Asma Maroof and English cellist Patrick Belaga, whom he met during his collaboration with Wu Tsang. In 2024, this remarkable career was crowned with a tour of Southeast Asia and one of the coveted BAK Music Prizes.

Tapiwa Svosve sounds in G Major Kinda Love from the album The Sport of Love very tender. However, that is just one side of his diverse oeuvre.

Financial scarcity and artistic consistency

Nevertheless, Svosve is just barely getting by financially: “I mainly live off my music. Sometimes it goes alright and sometimes less,” he says during the interview, “Maybe you get to play a lot, but then there’s another dry spell and you limit yourself: you don’t go out anymore, maybe you only eat rice with soy sauce. I can accept that if it then goes up again.” The BAK prize and prize money came at just the right time: “I was really worried about how I was going to make ends meet over the next few months. The prize took me from one reality to a completely different one: One day I had minus twenty francs in my account and the next day I suddenly had this huge prize money.”

The financial scarcity is probably also due to Svosve’s artistic consistency, who hardly, if at all, submits to sales arguments or marketing strategies. “An improvisational approach is fundamental as far as I’m concerned – be it in a jazz trio, in a noise band or when I make ambient music: being open to the potential of collaborations and seeing where this constellation of people takes you.” Svosve sees himself as a jazz musician: “I was musically socialised through jazz, in what other Western musical tradition is this extreme openness at to be found?”

Jazz and community

For Svosve, the openness and improvisational approach of jazz go beyond the actual music making . His work as an organiser and curator has also been influenced by these values: “The fact that I not only make music, but also proactively create spaces for music that the mainstream may not yet be ready for, is an essential part of being a musician for me and looking back at jazz history, this has always been an important part.”

A jazz musician in very different echo chambers

Svosve is essentially a jazz musician. He studied jazz history intensively and also teaches jazz history at the Winterthur Institute for Contemporary Music (WIAM), allthough this is hard to hear in some of his projects.

It characterises his way of being and working rather than the actual musical results. A good example is the album “A Lung in a Horn in a Horn”, released in 2022. In a nocturnal action, he and artist, label operator and sound designer Rafal Skoczek climbed into a large, open pipe that was laid under the Sihl and Limmat rivers. The album was then created there – just him, the saxophone and the psychedelically reverberating Zurich sewerage system, recorded by Skoczek. There was no major clarification of what was possible or legal. There were no rehearsals, no sound check: “The aim of the action was more the way to get there than the actual result. But I still like the record today. It’s so purist. It’s not so much about my playing, but more about how this tunnel actually sounds when I grind saxophone sounds into it.”
Jaronas Scheurer

Tapiwa Svosve and his saxophone, here in A Lung in a Horn in a Horn, recorded in the sewage of Zürich.

Broadcasts SRF Kultur:
Musikmagazin, SRF 2 Kultur, 28.9.2024: Preisgekrönt: Der Saxophonist Tapiwa Svosve: Tapiwa Svosve in an interview with Jaronas Scheurer.

Neo profiles:
Tapiwa Svosve, Swiss Music Prizes

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LUFF: Music award for Noise from Lausanne

Gabrielle Weber: Lausanne Underground Film and Music Festival awarded music prize

LUFF, Lausanne Underground Film and Music Festival, has been programming experimental music to accompany a selected film programme in Lausanne since 2002. This year, the festival received one of the special music prizes from the Federal Office of Culture (BAK). A few weeks before the start of this year’s edition, I met three members of the management team at the new Lausanne cultural centre Pyxis, right next to the cathedral in Lausanne’s old town, which is where LUFF’s offices are located. A conversation with Thibault Walter and Dimitri Meier, artistic directors of the music programme, and Marie Klay, managing director.

 

Marie Klay, Dimitri Meier and Thibault Walter / LUFF Swiss Music Prices 2024 © Gabrielle Weber

Gabrielle Weber
Marie Klay, Thibault Walter and Dimitri Meier come to our meeting as a trio and they are constantly developing each other’s ideas in conversation. There’s a reason for this: “The LUFF works as a collective,” Marie Klay tells me right at the start. “The team consists of around 50 people and meets regularly once a week throughout the year.” Decisions are made collectively and everyone has their say. Klay has been part of the team as Managing Director since a reorganisation in 2014: “All areas are equally important. Programming, for example, is no ivory tower”. Joint listening sessions are at the heart of the programme, adds Thibault Walter. They listen to and discuss works together before deciding who will be invited. This allows everyone to get involved. Thibault Walter has been part of the programme since its launch in 2002. Dimitri Meier joined in 2015 and continuously built up the music programming team.

 

The prize

The LUFF has gradually developed from a small insider event in Vevey to a major festival in Lausanne. Nevertheless, it is still an underground event. “When we received the call from the BAK, we initially thought it was a joke or a phishing phone call: we never expected to receive a music prize,” says Dimitri Meier. “The fact that we’re receiving this award for music is a profound challenge for us. But at the same time it is a recognition of our existential work and our choice of programme over the years,” says Thibault Walter.

  

     

LUFF / Dimitri Meier and Thibault Walter @ Award Ceremony Swiss Music Prices 2024 © Sébastien Agnetti

        

Noise!

LUFF likes to label its music programme ‘Noise’. The music genre, which originated in London in the seventies, is commonly understood to mean hiss, full volume, no melody or rhythm. But what is perceived as just ‘noise’ by some people is music to others – white noise can now also be found in the mainstream. But LUFF sees noise differently. “For us, noise is anything that goes against common musical practices. For some years, we also spoke of ‘non-music’ or ‘anti-music’,” says Dimitri Meier.

For Thibault Walter, noise is a relative term: “Noise usually has a negative connotation, but LUFF always uses it positively. We ask ourselves why certain sounds are undesirable and excluded and that’s exactly what we’re interested in.”

At LUFF, noise can also be humorous and melodic or quiet and subtle. Artists from Japan, where noise has been gaining ground since the 1980s and, alongside England, has one of the largest noise communities, are regularly present.

 


Jon the dog live @LUFF 2023

 

John the dog

Japanese performer Jon the Dog, for example, already performed at LUFF in 2023 and will be back in Lausanne again this year: she sings songs with a kind of childish voice, accompaning herself on the harmonium: melodious, harmonious, rhythmic and full of humour… in a way that is reminiscent of Japanese animated films. Her name comes from the fact that she performs in a dog costume, sometimes surprisingly in ‘hard’ noise concerts in Japan. For Thibaut Walter, she is an almost mythical figure. He suspects that she wants to hold up a mirror to the scene with this ‘positive immaturity’ and believes it is a reversal that says a lot about the scene.

“Noise doesn’t always mean at full volume, aggressive or exclusive… a sound can also be shaped very finely and full of nuances,” continues Thibault Walter.


Lise Barkas live @ LUFF 2023

Lise Barkas

Another example of the LUFF’s understanding of noise is embodied by Lise Barkas from Strasbourg: Barkas performs solo on the hurdy-gurdy. She was brought to Lausanne by the LUFF at an early stage and is now an internationally renowned noise artist. Her music oscillates between sounds that resemble early music and a scratchy, yet highly differentiated, noisiness. For Dimitri Meier, her concerts can also be read as a criticism of the usual over-amplification in the classical noise scene, which is completely idiotic.

 

A squat in Vevey

LUFF originated in a squat in Vevey, where a small circle of cinéphiles showed films from the New York Underground Film Festival, says Thibault Walter. The initiator left Switzerland and connected them to the Cinémathèque Suisse in Lausanne. In the Casino de Montbenon, where the Cinémathèque is located, they came across a huge unused room in the basement which turned out to be ideal for concerts. Together, they developed a kind of American New Wave cinema: selected films framed by concerts and so a film festival turned into a film AND music festival. “That’s another paradox. Receiving a music award for a music festival in a film festival.”

 

Lausanne scene full of experimental formats

The Lausanne scene was already rich in experimental formats before the festival. “The festival allows to showcase things that were already there: in flats, cellars or restaurants. The fact that so many people came together was a powerful, almost magical moment. We realised that we were not alone when we did something in our basements and that encouraged us to keep going,” says Thibault Walter about the early days of the festival.

To this day, all events take place at the Casino de Montbenon, headquarters of the Cinémathèque Suisse. By having them all in one place, the team also wants to bring the different audiences in contact with each other. The collective’s contributors also come from different backgrounds, for example from the film scene, like Marie Klay. The team is open and attentive, there is a friendly, almost familial atmosphere: they all believe and fight for the world being a good place, says Klay. “When you come together, you can make a positive difference”, Thibault Walter adds: “LUFF is a place that gives hope”, and Dimitri Meier: “Whenever one edition is over, we always look forward to the next one!”.

Gabrielle Weber

The LUFF took place for the 23rd time between October 16 and October 20.

New York Underground Film Festival, Pyxis – maison de la culture et de l’exploration numérique, Cinémathèque suisse Lausanne.

broadcasts SRF Kultur
Musik unserer Zeit, SRF Kultur, 25.09.2024: LUFF – Lausanne Underground Film and Music Festival taucht auf, author / editor Gabrielle Weber.
Musikmagazin, SRF Kultur, 5.10.24: Noise aus Lausanne: Das LUFF erhält Schweizer Musikspezialpreis, talk (min 10:30): Marie Klay, Dimitri Meier und Thibault Walter in talk with Gabrielle Weber.

Neo-profiles
Lausanne Underground Film&Music Festival (LUFF), Swiss Music Prizes

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Kunstraum Walcheturm – an impossible musical space in the centre of Zurich

Summer series for Swiss Music Prize No. 3: A special prize goes to Kunstraum Walcheturm, as – according to the jury – the concert venue “occupies an outstanding position for the further development of experimental music and art in Switzerland”.
Jaronas Scheurer spoke to its artistic director Patrick Huber.

 

The Kunstraum Walcheturm in the Zeughaushof Zürich ©Lorenzo Pusterla

 

Jaronas Scheurer
I meet Patrick Huber while he is supervising the set-up of a party to take place that same evening. The party has rented the room and there is a lot to explain and negotiate. Huber is also about to go on holiday: Between discussions with the sound engineers, briefings for the bar staff and final holiday preparations, he still finds time for an interview. Being in-between things, i.e. different projects, parties, experimental music, contemporary art and experimental film, in-between-ness seems to be a modus operandi for Patrick Huber and the Kunstraum Walcheturm: “This place shouldn’t really exist,” he says during the interview.

This venue – the Kunstraum Walcheturm in the old Zeughaus courtyard, about 10 minutes’ walk from Zurich main station – is the city’s most important venue for contemporary and experimental music and it received one of this year’s special music prizes from the Federal Office of Culture (BAK).

Walcheturm Gallery

How is it, that Walcheturm came to be known primarily for exciting concerts and less for exciting art? After all, it was founded in the 1950s as an association to promote young Swiss art and artists. And in the 1980s, the now internationally renowned art dealers Eva Presenhuber and Iwan Wirth moulded it into one of the most important places on the Zurich art scene, named after its first location on Walchestrasse. “At some point it became clear, that an association was not the right vehicle for an internationally active gallery with such commercial endeavour”, says Huber. A spin-off took place in the mid-1990s, from which the Eva Presenhuber and Hauser&Wirth galleries emerged. The Walcheturm association then went through a difficult phase before the association’s management was handed over to Patrick Huber in 1999. Huber applied with the vision of turning the gallery into an art space: “A rupture – not a gallery, nor an art market anymore – but an art space,” as Huber outlined his idea at the time.

 

Marc Zeier: ‘Daphnia Heart Beat’, Flügel, Bassboxe and Daphnia magna Modell, Kunstraum Walcheturm 2017 ©Lorenzo Pusterla

 


Luigi Archetti: LAVA – Part 01, Label Karluk 2021

 

From gallery to art space

Patrick Huber already had a lot of experience in organising exhibitions, parties and festivals. He had been organising parties since the 1980s: techno, hip hop, drum’n’bass, curating exhibitions in off-spaces and, since 1998, the experimental film festival VideoEx.

“When I took over, there were no members, so to speak, and there wasn’t even a hammer at hand, to hammer in nails for the artworks.” However, this also had its advantages, as it allowed him to create something from scratch. He was able to build on a large network of friends on one hand and his experience as a party organiser on the other. “For the first few years, parties, often techno parties, financed the art space.” The income generated from the big evening parties was channelled into the art space and the exhibitions during the day. “I didn’t even realise back then that one could apply for financial support,” Huber says with a laugh. But the Walcheturm art space soon had to move. Fortunately, they were accepted for the current location in the old armoury. “We got the key in January 2002. The key opened a dusty room. It was 5 degrees outside and the same temperature inside. Gravel on the floor, not much else. There wasn’t much money, but there was a big deal of help, a whole group of people: Someone was able to drive an excavator and dredged out a few cubic metres of gravel. Others were able to install electricity, someone installed heaters, etc.” says Huber, describing the move. “Then, in May, the floor was installed and the experimental film festival VideoEx was held for the first time. In August, there was an official opening with a project featuring 12 drummers. A performance, categorised as art, with twelve drummers playing.”

 

Katharina Rosenberger: Exhibition “quartet”, Kunstraum Walcheturm 2018 ©Lorenzo Pusterla

 


Katharina Rosenberger: REIN, Basel Sinfonietta under the direction of Baldur Brönnimann, premiere 2019 in Basel

 

From contemporary art to experimental music

The transition from exhibition space for contemporary art to a venue for experimental music seemed to be already apparent at the opening. “I was interested in contemporary, experimental music. I found it to be exciting. But there also seemed to be a need for such a space in Zurich. Because there has always been space for contemporary art in Zurich,” says Patrick Huber, explaining the change.

 

Julian Sartorius: Locked Grooves Record Release, Kunstraum Walcheturm 2021 ©Lorenzo Pusterla

 


Julian Sartorius: Locked Groove 093, Label OUS 2021

 

These days, Walcheturm hosts mainly concerts. In addition to several important festivals such as VideoEx, Sonic Matters, Taktlos Zürich and FemaleClassics, musicians and ensembles play somewhere between noise, free improvisation, new music, sound art and free jazz. Patrick Huber receives numerous requests for concerts, but the problem with the programme is funding. The Kunstraum Walcheturm is supported by the canton of Zurich, which barely covers the rental expenses. Beyond that, they have no budget, so to speak. “The amazing thing about Walcheturm is the musical diversity despite the tight financial guidelines,” says Huber. For this to work, a good deal of pragmatism and common sense is required. In concrete terms, the groups that play at Walcheturm, finance the place depending on the level of their own funding. “If the other side has a yacht, then please let our side have some money too, if they’re in a small rowing boat, then we can row around too. We’ve always done that,” says Huber with a laugh. “On paper, our calculations don’t actually work out. But somehow they do.”

And so they carry on – the impossible space in the centre of Zurich: two to four concerts a week, with the help of friends, a healthy dose of pragmatism and, above all, a lot of love and commitment to the music.
Jaronas Scheurer

 

The season 2023/2024 of the Kunstraum Walcheturm startet on the 2nd of September with an anniversary concert of the Collegium Novum Zürich.
Further events: https://www.walcheturm.ch/agenda/

Broadcasts SRF Kultur:
SRF Kultur online, 11.5.23: Trompeter Erik Truffaz erhält den Grand Prix Musik, Redaktion Jodok Hess.
Musikmagazin, 22.7.23, Carlo Balmelli: Ein Leben für die Blasmusik, Redaktion Annelis Berger, Musiktalk mit Carlo Balmelli (ab Min 9:40).
Musikmagazin, 17.6.23, Inspirationen mit offenem Ende: Die Vokalkünstlerin Saadet Türköz, Redaktion Florian Hauser, Musiktalk mit Saadet Türköz (ab Min 8:38).
Musikmagazin, 13.5.23, Schweizer Musikpreise 2023, Redaktion Florian Hauser, Musiktalk mit Katharina Rosenberger (ab Min 4:55)

Neo-profiles:
Kunstraum Walcheturm, Luigi Archetti, Katharina Rosenberger, Julian Sartorius, Collegium Novum Zürich, Martin Lorenz, Sebastian Hofmann, Insub Meta Orchestra, Sonic Matter.