Videos / Links

Feeding Buzzards and Red Kites


«CORDES» - a short film with Maya Homburger and Barry Guy (2013)

written and directed by Lou Perret
Camera - Jean Perret

"Celebration" for solo violin by Barry Guy, filmed by Günter Matthias for the exhibition "handgemacht" , curated by Peter Zumthor in the Werkraum Bregenzerwald, October 2016

Maya Homburger and Barry Guy

ECM50 Video about our Duo

ECM50 | 1969-2019 is a video series of 50+1 videos by IJB

Link :

„50 Kurzdokumentationen über 50 Jahre ECM Records von Filmemacher IJ.Biermann“

„50 short documentaries about 50 years of ECM Records by filmmaker IJ.Biermann“

Hexentrio VOCAL

This video was filmed by Hans Martin Müller at Loft Cologne, January 24th, 2012 , and it is the improvised vocal version of Barry's trio piece "Come and Go" inspired by Samuel Beckett's work of the same title. (sound engineer Ferran Connangla)


Short video by Michelle Ettlin
recorded live im Bau 4, Altbüron, Switzerland 15th June 2015

Izumi Kimura , Barry Guy, Gerry Hemingway

This short documentary about the trio with Izumi Kimura, Barry Guy and Gerry Hemingway was directed and produced by Cormac Larkin (Hatch 21 Productions), Director of Photography, Piaras Mac Cionnaith

Interview with Evan Parker and Barry Guy

This Interview was staged within the SPECTRUM FESTIVAL 2017 in Dublin

SPECTRUM festival – creative music for curious ears

Sunday 12 March 2017
SPECTRUM speaks : Cormac Larkin in conversation with Evan Parker & Barry Guy
2pm, The Parlour, Whelans
These two key figures of the European free improvisation scene since its genesis in the 60s and 70s share their experience.

Sensology Animation by Michel Gagné

By Michel Gagné , Published on Aug 3, 2010

Back in June 2006, I was invited to the Vancouver International Jazz Festival by Coastal Jazz's manager of artistic programming, the amazing Rainbow Robert. That's where I heard piano improvisor, Paul Plimley for the first time. As Paul played, I closed my eyes and had an intense synesthetic experience. When the show ended, I immediately started feeling a compulsion to express in animation what I had just experienced. I shared my thoughts with Rainbow and to my delight, she said to me, "That's why I brought you here, I was hoping you'd say that!" I've wanted to do an abstract animated film ever since I discovered the work of Oscar Fischinger, Norman Mclaren, Kandinsky, Yves Tanguy and many others. I knew that Paul's music, was the perfect catalyst to get started on such a project. Upon returning to my studio, I immediately got a hold of several musical pieces by Paul and started experimenting with animation. After a few weeks of trial and error, I started animating a musical triptych from the album, "Sensology": a brilliant duo with bassist Bary Guy, which was recorded on November 9th, 1995, at the Western Front in Vancouver, Canada.

The creation of this film was a true spiritual and artistic journey. Sometimes, I felt like I was channeling the images. I did no storyboards and virtually no preliminary work. I animated in a stream of consciousness, one frame at a time at a rate of 30 frames per second. The shapes revealed themselves as I listened to the music over and over again. The process was intensely focused and required large amount of concentration. I was becoming part of the music and expressing my creativity at its rawest and most primal. Like Kandinski tought us, every shape and sound has a equal vibration in the soul. When Paul Plimley saw a portion of the film for the first time, he said to me with tears in his eyes, "It's like you read my soul." Sensology was handdrawn (painted) with a Wacon tablet at first, and later, a Cintiq, using Adobe Photoshop. The drawings and frames were then composited and manipulated in a 2D software called Animo. There is no vector animation at any point in the film. Because a film needs to be 24 FPS for theatrical projection, I had to create a new master which took quite a bit of creativity and effort in order to preserve as much of the animation as possible. Fortunately, the 24 FPS version looks good and nobody but me will ever see the difference. The version posted on YouTube is 30 FPS. A 9-second teaser of Sensology was posted on line in the Fall of 2006 and resulted in Pixar contacting me to do the abstract taste visualization for the film Ratatouille. Sensology was completed in July, 2010. It premiered in Los Angeles at the Laemmle's Fallbrook 7 in West Hills, CA on July 30th, 2010, where it was shown for three consecutive days.

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