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Asian Trio  -  Min Xiao-Fen / Satoshi Takeishi / Okkyung Lee

ASIAN TRIO

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Min Xiao-Fen
pipa, vocals
Okkyung Lee
cello
Satoshi Takeishi percussion and electronics

 

 

 

 

Return of the Dragon          See Video on YouTube.com On YouTube >>>
Commissioned by the Kitchen in 2007,   Calligraphy and music by Min Xiao-Fen
 

In Chinese culture, calligraphy and music are considered among the highest forms of expression. This performance includes both. The writing that appears onstage represents different forms of the Chinese character for dragon chosen from different periods in ancient Chinese history.
My music is inspired by the spirit, energy and fantasy of the dragon.

Min Xiao-Fen


PRESS
 

MIN XIAO-FEN ASIAN TRIO

The Asian Trio doesn't exactly stick to Asian music - the name has more to do with where the musicians are from than what they play.
Korean cellist Okkyung Lee and Japanese percussionist Satoshi Takeishi are both important figures on New York's jazz and improvised-music scenes, and at least in this group bandleader Min Xiao-Fen favors an elastic, expansive strain of improv that's not hitched to any particular idiom - though she plays a traditional lute like instrument called the pipa, she only occasionally betrays her Chinese roots.
Since moving from China to New York in 1992, Min has moved fluidly between radically different communities - Chinese classical music, jazz, free improv - and worked with everyone from Tan Dun to Randy Weston to Derek Bailey.

This trio just might show off that malleability best. A live set recorded in Philadelphia in 2007
(slated for release on a new label run by Ars Nova, Philly's most important jazz and improvised-music presenter) includes chaotic textural passages, where Min injects the tumble of notes with vocal shouts and whinnies; gently lyrical spells, where Lee's lovely bowing forms a plush cushion for

Min's spindly pipa; and electronically refracted episodes, where Takeishi switches from drums to live processing that warps and colors his band mates  output.
                                                      
  By Peter Margasak   "Chicago Reader"

 

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