Sunday, 11 October, 2026 - 20:00

M. Takara & Carla Boregas ft. Dudù Kouate // Ryoko Ono + Peter Van Huffel

Ryoko Ono
Peter Van Huffel
M.Takara & Carla Boregas
Dudù Kouate
Alexander Frangenheim

doors 8:00 pm | concerts 8:30 pm | Ticket (only at door) € 10,--

Sadly, Alexander Frangenheim has had to drop out of this event. We are, however, excited to have Peter Van Huffel step in to perform with Ryoko Ono.

M. TAKARA & CARLA BOREGAS ft. DUDÙ KOUATE
M. Takara, drums, electronics
Carla Boregas, synth, electronics
Dudù Kouate, percussion

RYOKO ONO and PETER VAN HUFFEL
Ryoko Ono, saxophone
Peter Van Huffel, saxophone

Ultimately, it remains a mystery why the music of M. Takara & Carla Boregas possesses such an inherent sense of calm. After all, the stripped-back synth harmonies and agile drumming actually create a state of constant tension. It is as if these two opposing energies give rise to a new quality. Drummer M. Takara plays airy grooves featuring a dense web of ghost notes, informed by bossa nova and hard bop; Carla Boregas counters with sparse accents and the pulsating sounds of her analog synthesizers. The versatile percussionist Dudù Kouate adds another layer to the duo's sound. Equally at home in the musical traditions of West Africa and the Western avant-garde, Kouate has worked with the Art Ensemble of Chicago, Roscoe Mitchell, Moor Mother, and others.

Ryoko Ono and Alexander Frangenheim, two heavyweights of improvised music, come together in this encounter. The saxophonist and flautist Ono is as adept at progressive rock, hip-hop, noise, and R&B as she is at free improvisation. With exquisite technique, she contrasts her lyrical playing with noise-like sounds that suddenly emerge from and vanish back into an organic flow of scales. Trained double bassist Alexander Frangenheim has spent years perfecting his expressive playing style; the long list of his collaborators reads like a "who's who" of the international improvisation scene. He commands a vast array of tonal colors and possesses tremendous agility in his playing.

Supported by The Capital Cultural Fund (HKF) Berlin

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