Meaghan’s work as an improviser has brought her together with people from nearly every walk of musical life. She’s performed with Fred Sherry, John Zorn, Muhal Richard Abrams, Greg Saunier, Erik Friedlander, Butch Morris, Bernd Klug, David Schweighart, Aruan Ortiz, Marco Eneidi, Eric Arn, Vincent Chancey, Damo Suzuki (of CAN), and many more artists from the worlds of jazz, European improvisation, many varieties of rock and pop, and much more. She has been a member of improvising bands/ensembles Muhal Richard Abrams Trio, Le Cowboy (US/AT), Primordial Undermind (US/AT), Rash (US/AT), the Butch Morris Lucky Cheng’s Orchestra, and others.
Here are some of these groups
Le Cowboy, live @ Enemy, Chicago, March 2012
Meaghan Burke – cello / Bernd Klug – double bass / David Schweighart – drums
Rash @ Ze Couch, Brooklyn, NY, February 2011
Meaghan Burke, cello / Bernd Klug,
I was privileged to work with the legendary Butch Morris for several months last year, before his untimely passing in February 2013. The first evening I played with him happened to be filmed by the BBC (see link below). It’s rare to have the privilege to relive a first encounter like this – playing with Butch was a constant mixture of joy, fear, and confusion, but there was always that beautiful sense of “I-don’t-know-what-the-hell-is-going-on-but-I’m-pretty-sure-it’s-mindblowing.” He was a gentleman and a genius, and his death left a real void in New York City.
I spent many a fine year playing with the amazing free rock band Primordial Undermind while living in Vienna — you can hear my record with them, “Last Worldly Bond,” which was released in January 2011 to rave reviews, at http://www.strange-attractors.com/catalog/saah061.html
“Cellist Meaghan Burke, who has since relocated to New York, is [guitarist Eric Arn’s] main sparring partner. She bows voluptuous, almost-bluesy figures around his singing on “Never At A Loss” and lofts echo-laden filigree over Arn’s trills on “Minute Wasps.” But their exchanges feel more collegial than competitive, growing out of recognition that the music needs some real-time exchange if it is going to take off.” — Dusted Magazine