Damian Nisenson has played music professionally for 25 years. First in Europe, later in Argentina, he has played and recorded close to 30 CDs with some of the finest musicians in jazz, blues, rock n' roll, world music and new music. He has recorded three CDs with his own compositions as band leader. He has directed several improvised music combos. He has written music for theatre and dance. Between 1986 and 2004, the artist directed the Dosaxos2 Company, dedicated to the multimedia production of multimedia performances. He has played in big theatres, stadiums, at very beautiful festivals (including Francopholies 2005, with Soraya Benitez, of Venezuela). Since arriving in Montréal in May 2004, he has had his trio, Nisensong. He has taken part in several projects and is often invited to perform improvised music. He also enjoys the exchange between diverse artistic languages. He has directed several performances in which music, theatre, dance, poetry and image have expressed the same discourse, each using their own signs. He often works with a woman-painter, Poli Wilhelm. On a large paper roll, the artist paints an abstract partition that the musicians-improvisers then play with the same abstract and random spirit. Obviously, the artist is also influenced by the music, and the final result is the product of this fruitful exchange.
Improvisation in music, as in other artistic languages, has a huge liberating force. It allows each individual to discover new dimensions within himself and, working as a group, to discover new ways of relating to one other. Spontaneous creation, instantaneously released from form or structure, often takes us to unknown regions, surprises us, and enables us to play with our sensitivity, without being concerned about technique. The bringing together of students with very uneven amounts of musical knowledge enriches the exchange, proposing a broader range of choices, openings. The artist believes that music in general is a source of happiness and emotional depth. Regardless of whether he is working with trained musicians or people with little or no knowledge of music, the artist's approach always starts with the discovery of sound, vocal or instrumental, and from there, moves on to the act of playing, in its broadest sense. However, the artist also likes written and very well organized music in all kinds of clearly defined and structured styles. During improvisations he invites young people to explore the coexistence of composition and improvisation, to keep and put to the test the tensions created between these two universes. When the technical equipment is available, the artist likes to record, in whole or in part, the production of the work sessions and to be able to make a new reading of the experience with students.
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