There will be a lot more to go up here.
First up is this trio. I have known and played with Evan for many years and it is always a pleasure to play with him. This trio with John Edwards has been playing for a few years; sometimes with guests.
Similarly I’ve been playing with Roger Turner for almost as long. Here’s a clip of our duo
John Butcher and I first started playing together with violinist Phil Durrant. In 2010 we started this trio with Dominic Lash.
Henry Lowther and I first played together when Evan Parker couldn’t make a duo concert. This clip is from the last ever concert at the Red Rose where Mopomoso began.
The first time I played with Stefan was in a quartet with Hans Schneider and Paul Lovens. We’ve played together many times and made two CDs.
Satoko Fukuda has played in a few Quaqua projects and we also get together as a duo.
It’s great fun to sit down with a fellow guitarist and do the thing we both love. I feel there is a good contrast between Pascal Marzan’s fingerstyle guitar with nylon strings and me with a plectrum using nickel wound steel. We have been playing together since 2003.
Here I am in the company of my good friend Sabu Toyozumi at ‘Candy’ in Chiba, Japan. In a rather playful mood with a quick quote of ‘Tea for Two’ when Sabu uses the crockery!
Below, a review from Stuart Broomer:
“The CD with cellist Martine Altenburger is called Duet, and the title might be considered definitive rather than simply literal. It has as little verbal description as might be appended. It’s divided into five parts, numbered 1 to 5, with the explanatory note that “track divisions are only for the listener’s convenience.” The poet John Keats once described the quality of “negative capability” as the ability to live without anxiety in the midst of uncertainty. It’s a quality Russell seems to possess and he conjoins it with rare receptivity. In his past duets with Roger Turner (hear Birthdays on Emanem from 1996), Russell has emphasized the percussive quality of his attack as well as the specific timbral variety of his guitar. Something similar happens with Altenburger, whose cello—in strings and register—is a much closer partner for Russell’s guitar. The two share an acute consciousness of the significance of timbre, to such an extent that timbre is virtually consciousness. Identity seems here to pass from one instrument to another, from strings to strings, from wood to wood, as if guitar and cello are exchanging physical space, as if each musician plays the other’s instrument. By the conclusion, only the most divisive kind of listening can separate the sounds of one instrument from the other.” – Stuart Broomer, Point of Departure