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	Keith Rowe - Wikipedia, the free encyclopedia
		Keith Rowe (born March 16, 1940 in Plymouth UK) is a British free improvisation guitarist.
		Rowe is a founding member of AMM in the mid-1960s (though in 2004 he quit that group for the second time) and a founding member of M.I.M.E.O. He trained as a visual artist, and Rowe's paintings--often reminsicent of Pop Art--have been featured on most of his own albums.
		Rowe developed various prepared guitar techniques: placing the guitar flat on a table and manipulating the strings, body and pickups in unorthodox ways to produce sounds described as dark, brooding, compelling, expansive and alien.
	en.wikipedia.org /wiki/Keith_Rowe (565 words)

	mimaroglu music sales: browse by record label (Site not responding. Last check: 2007-11-02)
		erstlive 001 is from the duo of keith rowe and burkhard beins, and took place during the first night of outside shows in the berlin half of amplify 2004: addition in may 2004.
		erstlive 002 is from the quartet of keith rowe, toshimaru nakamura, thomas lehn and marcus schmickler, the final quartet performance in the cologne half of amplify 2004: addition, also in may 2004.
		rowe, who is best known for his groundbreaking work with amm (the seminal improvising collective he co-founded in 1965 with eddie prévost and lou gare), also currently leads the music in movement electronic orchestra, an all-star group featuring many of europe's premier electronic musicians.
	www.mimaroglumusicsales.com /browsebylabel.php?browsestring=erstwhile&arraynum=111&limit=20 (4618 words)

	www.jazzweekly.com \| Reviews
		Instead, tabletop guitarist Keith Rowe, a longtime AMM stalwart, and creator of a variety of prepared and ambient sounds is likely to be cited.
		Rowe's influence is so all-encompassing that one could speculate that a few of his more strident followers would deny that there's a future for the upright guitar.
		Eventually Rowe seems to be twisting his instrument's dials and button for maximum sound as the roar conjures up picture of the ceaseless moving machinery in Charlie Chaplin's Modern Times.
	www.jazzweekly.com /reviews/krowe_grain.htm (617 words)

	Harsh: Reviews, Discography, Audio Clips, and more \|\|\| Music.com
		Keith Rowe, active in avant-garde music circles since the 1960s, gained more notoriety in the late 1990s as he was recognized as a pioneer of electronic free improvisation by musicians like Jim O'Rourke and Kevin Drumm.
		Keith Rowe [+], active in avant-garde music circles since the 1960s, gained more notoriety in the late 1990s as he was recognized as a pioneer of electronic free improvisation by musicians like Jim O'Rourke and Kevin Drumm [+].
		Rowe's goal is not to drive listeners out of the room, but to extend the guitar's language and to express himself through half-organized, half-chaotic noise.
	www.music.com /release/harsh/1 (417 words)

	Eugene Casey
		Rowe said he had not lived in the trailer since Keith Stanford and his bunch had broken in and beat him up.
		Keith came to her house and told her that someone had dropped him off, but he refused to give a name.
		Keith testified that Troy had a $100 money order in his wallet that he was going to use to pay fines he owed at the courthouse.
	www.justicedenied.org /eugenecasey.htm (4486 words)

	THE TERMITE CLUB \| REVIEWS \| TILBURY ROWE
		For the uninitiated, Keith Rowe and John Tilbury are improv legends, both with roots in the seminal UK group AMM.
		Rowe is arguably the godfather of prepared guitar, a tool which is now de rigeur amongst younger improvisors such as Annette Krebs and Kevin Drumm.
		Their set ended with a piercingly shrill tone from Rowe's equipment, gradually fading out, to be replaced by a rapturous applause from the audience.
	www.qubik.com /termite/reviews/tilburyrowe.html (459 words)

	Evan Parker and Keith Rowe - Dark Rags (Potlatch)
		Keith Rowe, far more active outside of AMM than he has been in ages, appears to be enjoying a creative renaissance.
		While Rowe scrapes, strokes, and scours strings to spur Parker's impassioned response, electronic treatments broaden the attack, acting upon deliquescent drones and rhythms like a solvent wash. During quieter sections, Rowe's short-wave radio asserts itself, and Parker plays as if to commune with the murmur of indiscernible voices.
		Rowe's guitar responds to Parker's pointed provocation with irascible growls, maintaining a pricklier, almost quarrelsome presence through the remainder of the performance.
	www.fakejazz.com /reviews/parker.shtml (484 words)

	GROB209 Keith Rowe - Harsh (Site not responding. Last check: 2007-11-02)
		Keith Rowe is a pioneer and-to maintain this is hardly exaggerated-one of the heavenly figures of the younger, electronic development in improvised music.
		Rowe became legendary thanks to his work in AMM (since 1965) and to his work with composers such as Christian Wolff, Howard Skempton and especially Cornelius Cardew (Scratch Orchestra, People's Liberation Orchestra).
		There are quite a few excellent recordings of Keith Rowe at the moment: with Taku Sugimoto and Günther Müller, with Peter Rehberg and Christian Fennesz, with the Music In Movement Electronic Orchestra (see also their double CD Electric Chair + Table, GROB 206/7) or with the saxophonist Jeffrey Morgan.
	www.churchofgrob.com /Churchofgrob/CATALOG/GROB209/grob209.html (340 words)

	Keith Rowe
		This clip of Keith Rowe is taken from a solo performance at Sound 323 in London on 29 October 2000.
		In his own notes to the Wipe out (title) track, Keith Rowe wrote, 'A lot of folk and people's music uses a certain semitone shift between notes (for example, the bottom notes of Blackleg Miner) and all the guitar is based on this progression.
		Keith Rowe has maintained his early interest in utilising painting as a stimulus, generation of ideas, and as score material for musical performance.
	efi.group.shef.ac.uk /musician/mrowe.html (1241 words)

	Keith Rowe guitar A DIMENSION OF PERFECTLY ORDINARY REALITY 1989 ‘ (Site not responding. Last check: 2007-11-02)
		Keith Rowe’s music=making does not exist in an ideal realm of aesthetic perfection, but in the here-and-now, in the physical, acoustic and human circumstances of each particular performance in which the musical world and the real world are one.
		Keith Rowe is master of an invented instrument made out of electric guitar, amplifier, speakers, various accessories (mostly quite ordinary), radios, and himself.
		Thirdly, a version of Frank Abbinanti’s Citymusic, written for Keith Rowe rather as one might write for an instrument, material to generate improvisation, with some reference to categories of the known and the unknown, and to cities.
	www.matchlessrecordings.com /sleeve_notes/mrcd19.html (493 words)

	Rowe Fennesz (Site not responding. Last check: 2007-11-02)
		"Keith Rowe and Christian Fennesz are recognized as two of the most prominent and influential musicians in experimental music.
		However, despite their joint participation in the 12 person MIMEO collective, their commercially released work has rarely intersected, which is why Live at the LU, a document of their first duo show together, is so revealing.
		Rowe's cover painting is deeply symbolic, rife with subtle references, many of which are fleshed out in Friederike Paetzold's brash pop design."- label press release.
	www.brainwashed.com /intransitive/pages/rowefen.html (133 words)

	Coyle-Cassidy's Keith Rowe earns full ride at Sacred Heart University.
		Keith Rowe, a senior at Coyle-Cassidy High School, stretches before his track practice Wednesday afternoon in Taunton.
		Rowe also won the high jump at the EAC Meet at 6-1, placed fourth at the Div.
		When Rowe informed Morrison that he hadn't applied, the coach said that was OK because Sacred Heart has rolling admission.
	enterprise.southofboston.com /articles/2006/05/18/news/sports/sports02.txt (716 words)

	Planet Field Hockey.com - Sad news, the death of Keith Rowe
		During this period Keith was also manager and liaison officer of Hounslow HC and his work undoubtedly contributed to their fantastic success during the late 80s and early 90s which saw two NHL titles, four HA Cup wins and success in the first ever European Cup Winners Cup in 1990.
		Keith remains the longest serving league liaison officer in the EHL and only the onset of illness prevented him from continuing the role into a thirteenth season.
		Keith, who was 64, leaves a wife, June, two sons Matt and Nick and a granddaughter to whom we extend our sincere condolences.
	www.planetfieldhockey.com /index.php3?Action=Item-View-230-11 (327 words)

	Keith Rowe and John Tilbury, Duos for Doris
		Duos for Doris features guitarist Keith Rowe and pianist John Tilbury, two-thirds of the current AMM lineup, but in place of AMM’s layers of thick description (an approach nicely summed up by the title of their album Laminal), these duets offer a scrupulous thinness.
		Rowe describes this as a “music of zero” in his session-notes (not included in the CD booklet but posted online): “A music that might be nothing in itself but juxtaposed to another: together transformed.” This process takes place as much in the listener as in the music itself.
		Rowe’s menacing encroaching crackle thins out and then thins out again, into an ultrafine hiss, and Tilbury finds less and less occasion to intrude; by the 39-minute mark there’s barely anything left at all, beyond Rowe’s little shapeless tufts of string-noise – the sound of someone waiting, not impatiently but watchfully.
	www.ndorward.com /music/rowe_duos.htm (1111 words)

	Bagatellen: Rowe/Tilbury - Duos for Doris
		Keith replied no, that he thought when John touched the piano he’d actually be using, the ideas would flow.
		Rowe, as has been more and more the case in recent years, is very much content to provide a “canvas” for his collaborator’s activity (though not necessarily a featureless one by any means), positioning his music as an element as integral as it might be unnoticed.
		Rowe is operating at least four or five levels of sound here but all occupying such distinct zones that it’s difficult to comprehend them at the same time; different listenings almost necessarily cause one to concentrate on different aspects.
	bagatellen.com /archives/reviews/000069.html (2522 words)

	Michael Doneda, Urs Leimgruber, Keith Rowe - The Difference Between a Fish (Potlatch)
		The Difference Between a Fish is a meeting of legendary AMM guitarist Keith Rowe with French saxophonist Michel Doneda and Swiss saxophonist Urs Leimgruber.
		Rowe, known already as an innovative and iconoclastic guitarist who left behind any and all conventional ideas and technique long ago, plays little that could easily be attributed to the guitar by a blindfolded listener.
		Rowe's work tends to be more ambient in nature; often his sounds are the base off of which the two saxophonists propel their improvisations.
	www.fakejazz.com /reviews/2003/doneda.shtml (402 words)

	www.jazzweekly.com \| Reviews
		For men on either side of 60 the dictum that "free jazz keeps you young" must be true, for the result is as engaging and thought-provoking as anything the two have produced during their long careers.
		Of course there are still those, including Parker and Rowe at different times of their lives, who would argue against labeling Dark Rags jazz.
		Initially, as the unremitting drone emanating from Rowe's side is sporadically punctuated by snatches of radio broadcasts, it may seem that the guitarist could become the overpowering partner.
	www.jazzweekly.com /reviews/parkerrowe.htm (401 words)

	Keith Rowe and Toshimaru Nakamura - Weather Sky - Review - Stylus Magazine
		Pickup imperfections and the endless murmur of sixty-hertz hum become Rowe’s accomplices in his ceaseless investigation of every musical outlet suggested by this palette of incidental electrical noise.
		On rare occasion some form of large-scale disruption, whether it be the near-cataclysmic feedback fissure from Nakamura ten minutes into the first track or Rowe’s sudden sonic fractures at the end of the third, calls for a sudden reordering of the dronescape and the click and thrum contained therein.
		The cycle repeats, with Rowe and Nakamura constructing a wholly new sonic environment from the same raw materials of electrical flux and mechanical malfunctions.
	www.stylusmagazine.com /reviews/keith-rowe-and-toshimaru-nakamura/weather-sky.htm (904 words)

	Breaking Things: Keith Rowe and Shortwave
		My first encounter with number stations was after I had seen Keith Rowe and John Tilbury perform in Leeds at a Termite Club event for Fuse 04.
		There are many references to musicians using recordings of number stations [see Simon Mason's website], but in the case of AMM we must remember it is a live improvisation.
		Rowe, in the Resonance article, also refers to radio broadcasts as fixing the performance in time and place.
	www.da-n.co.uk /blogs/lycett/2005/01/keith-rowe-and-shortwave.html (438 words)

	Article : Keith Rowe.
		One of those duos coming up at the time were in the Derrick Harriott stable, where Texas Dixon and Keith Rowe - better known as Keith & Tex - scored with some very memorable songs directed by the architect of the rock steady beat, Lyn Taitt with The Jets.
		Keith Rowe also did some superb recordings in the mid 70s for Lee Perry at the Black Ark studio, of which ´Groovy Situation´ became a big hit.
		Keith Rowe remains very active in the business, hosting the "Sounds of the Caribbean" radio show in the New Jersey area.
	www.reggae-vibes.com /concert/keithrowe/keithrowe.htm (1832 words)

	HIFC: FOR IMMEDIATE RELEASE (Site not responding. Last check: 2007-11-02)
		Keith Rowe is one of the pioneers of electronic development in improvised music.
		Rowe, a London pop art painter and jazz guitarist in the 1960s, innovated the table-top-guitar.
		Rowe became legendary by his co-operation with the group AMM (since 1965) and his work with composers like Christian Wolff, Howard Skempton, and Cornelius Cardew.
	www.houstonculture.org /temp/pofh0202.html (352 words)

	Erstwhile Records - Wikipedia, the free encyclopedia
		Erstwhile was founded by Jon Abbey in 1999, and his knowledgeable (but highly opinionated) personality and tastes are closely identified with the label.
		The first few Erstwhile releases were something of a mixed set in terms of the music, ranging from the melancholy avant-blues of Loren Connors to the rather traditional free jazz of VHF.
		Much of this is the responsibility of designer Friederike Paetzold, whose elegant packaging designs often entirely forgo details like artist's names, instrumentation and album titles in favour of striking minimalist images (often artworks by guitarist Keith Rowe, who is also a painter).
	en.wikipedia.org /wiki/Erstwhile_Records (338 words)

	info
		Keith Rowe, Oren Ambarchi, Christian Fennesz and Toshimaru Nakamura are four of the most prominent and influential musicians in experimental music today, each with extensive discographies and distinctive styles.
		The underlying concept of 4g is to unite four artists who each began their musical explorations as guitarists, keeping that mindset as a crucial underpinning of their work as they've each explored increasingly abstract territory, both with and without guitars.
		There have been two larger group releases featuring three of these four musicians, Afternoon Tea (Ritornell) has Rowe, Ambarchi and Fennesz, and the 7 guitar disc on the AMPLIFY 2002 box has Rowe, Ambarchi and Nakamura, but the 4g project is the first time all four have performed together.
	www.erstwhilerecords.com /catalog/046_info.html (656 words)

	Keith Rowe/Sachiko M/Toshimaru Nakamura/Otomo Yoshihide - ErstLive005 - Review - Stylus Magazine
		Absent, of course, are the more brutal noise extremes that Rowe and Yoshihide sometimes veer into, but even within the narrow boundaries of the prototypical “onkyo” sound on display here there’s a lot of room to maneuver.
		Fuzzy static from Rowe’s radio forms a warm backdrop for Sachiko’s ghostly sine tones, and there are numerous small crackles, bass drones, and scratched objects grating against the surface of the more constant tones.
		Early on, Rowe and Yoshihide provide bursts of gritty turbulence to disrupt this serenity, but soon they too are consumed by the silvery purity of Sachiko’s high tones, and the music drifts off into a hushed denouement.
	www.stylusmagazine.com /reviews/keith-rowesachiko-mtoshimaru-nakamuraotomo-yoshihide/erstlive005.htm (1097 words)

	Browse by Label: ERSTWHILE
		"Keith Rowe, Thomas Lehn and Marcus Schmickler are three of the most prominent names in the European experimental world, each with their own distinct history and discography.
		Rowe, Lehn and Schmickler gathered together in June of 2002, in Schmickler's Piethopraxis studio in Cologne, for two days of recordings.
		She took dozens of pictures from different angles, and her fascination inspired Rowe to title the record after the Cardew quote, and to paint a more 'optimistic' version of one of her photos for the front cover.
	www.forcedexposure.com /labels/erstwhile.html (6766 words)

	Free improvisation - Facts, Information, and Encyclopedia Reference article
		Free music is a relatively little known, and somewhat loosely-defined genre, and none of its exponents can be said to be "famous" amongst the general public.
		However, in experimental circles, a number of free musicians are well known, including the aforementioned Derek Bailey, trombonist Conny Bauer, saxophonists Evan Parker and Peter Brötzmann, and guitarist Keith Rowe.
		Free music performers come from a variety of backgrounds, and there is often considerable crossover with other genres.
	www.startsurfing.com /encyclopedia/f/r/e/Free_improvisation.html (379 words)

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