Lucio Capece | Argentina


bass clarinet, soprano saxophone







CD CS 031, Lisbon 2005

He plays bass clarinet, soprano saxophone and a mixer in feedback controlled by an inside amplified saxophone.
He studied classical guitar for several years until choosing the instruments that he actually plays.Then he studied in Argentina mainly the John Coltrane's approach to jazz and classical techniques.Then he continued studying in France for 9 months with Louis Sclavis in 1997, and in New York and Chicago, in 2000, meeting several musicians related with Anthony Braxton and Julius Hemphill approach, like Marilyn Crispell, Gerry Hemingway, Tim Berne, Jim Black, or new approaches to composition like Gene Coleman.
Since 2000 he plays mainly improvised music and composed music related to improvisation with the Q-O2 Ensemble directed by Julia Eckhardt, from Belgium (projects with Phill Niblock,Pauline Oliveros, Keith Rowe, etc).
As an improviser he shared projects with Keith Rowe, Axel Dorner, Franz Hautzinger, Domenico Sciajno,Rhodri Davies, Robin Hayward, Burkhard Beins, Andrea Neumann, Julia Eckhardt,Yannis Kyriakides, Sean Meehan, Mattin, Sergio Merce, etc).
Since being a teenager Lucio Capece was strongly affected by cinema directors like Andrei Tarkovsky, Sergei Paradjanov and Robert Bresson, and painters or visual artists in their research of perception development like Mark Rothko, the Russian Middle Age Icons (like Andrei Rubliov) and László Moholy Nagy.
In this sense he feels that his research and studies have been focused mainly in two aspects: music considered as time itself, as a portion of living time. With no end, no start, no developing.And the perception experience, working sound quality in detail, as well as it‚s consequences.
He considers that in his person this work obtains its stronger experiences in real time composed music, so called improvised.
He feels that other musicians have influenced him in this process, Perotin and Leonin (early middle age counterpoint), David Tudor and Karlheinz Stockhausen in their electronic works, Giacinto Scelsi and James Teeney in their micro tonal approach, Keith Rowe, Axel Dorner, Robin Hayward, Franz Hautzinger as contemporary improvisers, rock bands like My Bloody Valentine, traditional musicians from Japan, Korea , and some especific music from Argentina like the Milonga Campera ( Ayahualpa Yupanqui, Abel Fleury, Nelly Omar).
In this sense Lucio Capece does not feel himself identified with an specific school.He plays at the moment mainly in improvised music projects that go from reductionism to noise, not considering the amount of sound or silence as a main thing but the time experience and the perception experience as main subjects.
In terms of instrumental playing he prepares his instruments with ping pong balls, water, different kind of paper, fragments of plastic bottles, particular analog electronic setups , etc, using also personal extended techniques. He treats the instruments as sound objects, with a strong influence from mechanical and electronic sounds.
He lives since 2002 in Paris, France.