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Breast: A
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And he continued to play on them. We laughed β but we heard nothing. Or presumably even more. Each of us something different. That was enlightening β how else would this scene still be so present in my memory after 35 years. Powerful artistic experiences can deliver a jolt that changes your life. And the subtitle β a series of events with musical risk β was brilliantly applicable to both musicians.
It was frequently the small, but no less touching, experiences with objects, things and materials, which themselves were suddenly thrust into the spotlight. Or, for instance, on what became audible when Kapielski moved closer with his microphone to a fan or a hand-mixer or a tin can that was bubbling away on a camp stove. I no longer recall if I already knew Thomas Kapielski, or if it was then that I first discovered and started to appreciate his abstruse and astonishing electronic inventions.
At any rate, from then on, he was a welcome guest performer at Materialausgabe and later contributed a memorable performance to its grand and presumably last edition at the New Jazz Festival Moers For all the musicians whom I invited to that concert, the condition was to come on stage just for one minute.
Thomas Kapielski, a refined mensch, abided by that, and noisily slayed a veritable closet in exactly one minute. The most impressive for me was his memorable solo on an LP that Alfred Harth gave me in Now, upon re-encountering the piece more than forty years later, it becomes clear to me: I must have listened to it, completely enthusiastically, hundreds of times.
Each nuance, every register, is totally familiar, and yet as surprising as ever. Ultimately, it led to the fact that, just before the dress rehearsal, we scratched all his lines on the spot, so that he could demonstrate his strengths as a musical performer. Translation: A.