Although Chris Illingworth, Grant Russell and Rob Turner played in the standard instrumentation with piano, bass and drums, they wanted from the outset to make clear that they are no x-arbitrary Jazz Trio from the bar. And so they chose instead to designate himself as in jazz circles usual after one of the three members, the gently sloping name GoGo Penguin. Not about from an eccentric whim, but to unterstreiechen fact that they see themselves as a band in which no individual sets the tone.
The history of GoGo Penguin began when the three music students walked along the Royal Northern College of Music in Manchester over the road. All three were fans of the Swedish trio e.s.t. that had some years earlier the acoustic jazz a new direction by integrated it influences from pop, rock, classical and contemporary electronica in his music. Also Illingworth, Russell and Turner went to music without stylistic blinders. They liked classical works by Shostakovich and Debussy as well as the music of Aphex Twin and Massive Attack or the experimental sounds of Brian Eno and the exciting progressive jazz of The Bad Plus.
The debut album "Fanfares", which appeared in late 2012 when indie label Gondwana Records of trumpeter Matthew Halsall, came to the British public and press to sensational. For fans of the first hour included, inter alia, Pianist / singer Jamie Cullum, Mike Chadwick of Essential Music Marketing and the former acid jazz Pope Gilles Peterson, who has long fOr his phenomenal "talent nose" known. Cullum called GoGo Penguin "a truly brilliant modern piano trio that recorded the entire history of music. I think they are something special." In its "Worldwide" -Radiosendung at the BBC Peterson praised her as "one of the most impressive three-member groups that are operated in the world." For he organized Worldwide Winners Awards "Fanfares" early 2013 was then nominated as the best jazz album of the year.
Not long after the release of "Fanfares" left bassist Grant Russell GoGo Penguin to pursue other opportunities and to start their own quartet. In Nick Blacka however already was the ideal "substitute" for him ready. Because Blacka had in his own Magic Hat Ensemble already played previously with Rob Turner and in another trio with Chris Illingworth. The chemistry between them agreed immediately. By Blacka won the music of GoGo Penguin more drive and stringency. This showed the same on the second album "V2.0", which again appeared in Gondwana Records in 2014 and this time was nominated for the prestigious Mercury Prize. "V2.0" was less jazzy than its predecessor and oriented more towards modern dance music, without the musicians had reduced their pleasure in improvisation. As influences GoGo Penguin cited by name Electronica and IDM artists such as Four Tet, Jon Hopkins and Flying Lotus.
The band toured afterwards through the world and played in front of a growing and almost absurd enthusiastic audience in such different performance venues, including Koko, the Union Chapel and the Barbican in London, at Gilles Peterson's Worldwide Festival in southern France, in La Villette in Paris, About the Jazz Festival in Hamburg and the Dimensions Festival in Croatia. A first taster tour through North America caused a sold-out concerts in Canada and two standing ovations at the Rochester Jazz Festival in upstate New York. In October 2015 GoGo Penguin delivered live the soundtrack to Godfrey Reggio's cult film "Koyaanisqatsi", in November they worked with the famous choreographer Lynn Page fOr a curated by Gilles Peterson night at London Jazz Festival together. And in all the turmoil they signed even a record deal over three albums for Blue Note Records, the famous jazz label in the world. Even Blue Note president Don Was had "V2.0" belongs and had become a fan of the trio. So he flew to About Jazz Festival to Hamburg to experience GoGo Penguin live and offer them a record deal.
FOr her in February 2016 published blue Note debut "man Made Object" composed the musician the pieces on the computer and then searched together for ways to replicate the electronic sounds on acoustic instruments. In their musical DNA they unite as seemingly disparate influences of electronica, jazz and classical music in a completely new, highly original way.
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