Sonido 13 uses and abuses their classical training, along with an unbridled spirit of exploration and freedom, to create spontaneous pieces of chamber music which defy classification. Expanding on the original concept of the ‘13th sound'--microtonality--the duo has used virtuosic extended techniques to create a unique personal musical language informed by contemporary concert music, electronic music, noise, free improv, jazz, folk musics and many others. The music is mostly improvised but somewhat composed: attempts to create structured chaos within chaotic structures, it was fueled by equal parts inspiration and french fries.
Harry Cherrin is an American saxophonist and woodwind player currently living in the Netherlands. Originally from a suburb of Philadelphia that not many people have heard of, he eventually relocated to Boston where he studied, lived, and performed with a variety of groups for four years. He recently finished a master's degree in Amsterdam, under the tutelage of the great Dutch saxophonist Arno Bornkamp, where he remains as a valued member of the Dutch experimental music scene. Always striving to find new ways to integrate his classical training with a sense of spontaneity and creativity, Harry plays alto saxophone in the Esquire Saxophone Quartet and is a founding member of Bram Stadhouders Korps, Twombly, Sonido 13 and several other groups. He also teaches music and saxophone in The Hague and Amsterdam, and as such sometimes gets sick of all the long train rides.
Jason Alder grew up in a musical, computer literate family in metro Detroit during the Reagan administration. He began playing guitar and clarinet at an early age, with bass clarinet and saxophone quickly following. He holds a BM from Michigan State University (US) where he studied clarinet, computer/electronic music, and recording. In 2006, after spending many years in the multi-faceted Detroit music scene, he moved to Amsterdam to join the bass clarinet legacy at its conservatory. He is very active in contemporary music and frequently works with composers to premiere new solo and chamber music repertoire, performing regularly around Europe. He also often performs with improvisers of other arts, specifically dance, theatre, & film; the Magic Lantern Show Orchestra; and is a founding member of the klezmer band Payazen. He continues to live in Amsterdam as an active musician and recording engineer, operating his business N&K Music and Audio, Inc., and is a freelance spicy food connoisseur.
locusts: a single line on a single trajectory wherein momentary diversions materialize and morph, darkening and clashing in curious intersections, contextualizing and reconfiguring towards a final implosion
collateral damage: a torrent discovers that it is, in fact, a brook
chase scene: imitation is the best form of flattery
gekruiste: bizarre rituals with muffled and vague beginnings; an affirmation
gelaagde 3: as we expand to cover more and more territory, we discover that we’re not so different, you and me
melody: ‘the secret to a great pb&j: no pb, double j’
wisselen: always slaps and whines over a murky ground bass, but no one can seem to hold onto his materials for very long, you can’t buy, only rent
muurbloem: a chant at first, using the merest of means, ultimately scatters into a collection of splashes in the air
the end of my beginnings: quivering interval grinding itself against the armosphere, relishing its own dissonance and ultimately squeaking its way back to outerspace
bttf: percussive possibilities. floating tones and dark jabs against persistent tongues-speaking
chooch: let’s make like a tree and get out of here
deserted dreams: slithery sneak slurps and slides, ever intimidated by mutilated chunks with electronic powers
white pants, hot girlfriend 1: it’s true, check for yourself
for you, ten euro: an artist begs forgiveness with every stroke of the brush, forgiveness for spoiling the purity of existence with his paints
industrial grind: the bellowing of overtones with ever patient plops. he might be convinced, but at the very last minute he returns to the dark side
swell: a note is like a snowflake--if you collect enough of them into a ball and put it in the freezer until july, you have something with which you can surprise the heck out of your little brother! similarly, when i play a note and you play a note, a third thing is made for us and them to feel, to vibrate inside of, to understand. pretty swell