Experimental improvisation from three masterful players --Joe McPhee on soprano sax, Sylvain Guerineau on tenor saxophone, and Jean-Marc Foussat on synthesizer and voice--recording in France in 2010 for two extended works of concentrated and diverse dialog.
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Label: Fou Records
Catalog ID: FR - CD 05
Squidco Product Code: 23400
Packaging: Cardboard Gatefold
Recorded at Studio Pyjama, in La Garenne-Colombes, France, on March 15th, 2010, by Jean-Marc Foussat.
Jean-Marc Foussat-synthesizer, voice
Sylvain Guerineau-tenor saxophone
Joe McPhee-soprano saxophone
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1. Le Desarroi Du Coelacanthe - The Forbidden 24:14
2. Le Corps Des Larmes - The Forgiven 21:49
Related Categories of Interest:
European Improv, Free Jazz & Related
NY Downtown & Jazz/Improv
New in Improvised Music
Recent Releases and Best Sellers
sample the album:
"All types of creative music are populated with unsung heroes, no more so than Free Jazz. Never a popular exercise, experimental improvising by definition has attracted those who value discovery over fortune and fame and are unafraid to be mocked for not taking easier, better-paying path. Someone who is gifted with enough intestinal fortitude to stay true to himself is tenor saxophonist Sylvain Guérineau, 67, who lives in a Paris suburb and is also a painter and teacher. Someone whose initial recorded efforts were in the company of Free Jazz legends such as drummer Sunny Murray, trumpeter Jac Berrocal and others, since the millennium he's often recorded with Paris-based engineers/electronics whiz Jean-Marc Foussat as well, as with younger sound experimenters such as Bordeaux percussionist Didier Lasserre.Recorded almost three years apart but of a similar high quality, La Jungle du Douanier Rousseau and Quod extend the reedman's catalogue in both directions, The second CD from 2010, features the Aliquid duo - Guérineau on tenor and Foussat using synthesizer and voice - in two intense improvisations alongside veteran American soprano saxophonist Joe McPhee, 74. Completely acoustic, 2013's La Jungle du Douanier Rousseau is a live meeting among Guérineau, tyro tenor saxophonist Alexandra Grimal, now a member of France's Orchestre National de Jazz, plus pianist François Tusques, two years Guérineau's senior, who was also on hand for Free Jazz's European genesis.Happily the 10 live improvisations which are strung together to make up this program are anything but exercises in nostalgia. Tusques' themes are knotted and elastic enough to spur unfettered ruminations from all three in a variety of combinations. If there is a misstep it's in not identifying the reed soloists. One might figure that the strained, lighter sounds come from Grimal, and the deeper, Trane-like elaborations from Guérineau, but that supposition carries along with it the whiff of sexism. Essentially while it's unclear whether both saxophonists solo on each track, when they do as on "Orgue A Bouche", the cumulative effect is not unlike what would have happened if John Coltrane and Pharoah Sanders had recorded backed by only McCoy Tyner or Alice Coltrane. Nonetheless Tusques' technical command is such that while his percussive intensity is perfect foil for the two tenors, his playing is loose enough to also reference unforced swing.Proving once again that the Free Jazz edifice was built on the architecture of existing Jazz, the pianist reveals other influences along with individuality as he plays. Besides the crab-like extensions whose source is given away by the title of "Dick Twardzick", he ranges through balladic inferences and unfazed business to counter reed bites on "Don Cherry Blue", and appends some Monkish double pulsing as the saxophonists harmonize on the final "Move The Blues". More spectacularly on a track named for the legendary Paris club, "Au Chat Qui Pêche", he responds to lipped extensions and reed bites with key clusters that put a modernist sheen on both pop song allusions and stride piano.For their part both saxophonists acquit themselves admirably, especially on "Tout Est Possible" when they volley tongue twisting timbres back-and-forth atop rolling chords from the pianist; and "Srénité", which isn't anything like its title. As Tusques comps sympathetically, toothpaste-like, the reedists squeeze out gooey tones that harden into Ayler-like growling, downward slurs.Guérineau is in a different set up on Quod as the trio buzzes judders and smears its way through two more than 20-minute improvisations. While Foussat has some moments of keyboard-like clatters and reveals a couple of split-second live processing of the reed textures, his fallback is processing machine-like oscillating sounds. Ranging from congested, almost opaque drones, canine-like yelps, backwards running flanges and blurry tones that sound like they're sourced from an underground tunnel, he fills the tracks' nooks and crannies.Meanwhile as the tenor saxophonist often pumps out downward slurs in a deep, melodious tone when he's not breaking the time with altissimo squeals, the soprano saxophonist uses reed bites and slide-whistle peeps to dart around the other's timbres. With the sonic layering sufficient to aurally knit a multi-colored garment, the skill of all concerned ends up with something that's organic as well as rousing. Following a cyclone of multiphonic tone alterations from the synthesizer, response circular breathing from the saxes solidifies into a finale.Two reeds plus experimental improvising for those with no preconceptions, both CDs demonstrate the excitement of constant challenges, and latterly plus the rapprochement that exists between veteran, younger and very much younger players."-Ken Waxman
• Show Bio for Jean-Marc Foussat
"Jean-Marc Foussat (born March 19, 1955 in Oran ) is a French composer and improvisational musician ( guitar, piano, live electronics ).
Since the mid-1970s, Foussat had belonged to groups such as Lézard Marçio, in which he contributed the sounds of concrete music with magnetic tapes. In 1981, he finished his first solo album, Abattage, which was released in 1983. In the ensemble Marteau Rouge (with the guitarist Jean-François Pauvros and the drummer Makoto Sato), he also collaborated with Evan Parker. Together with the saxophonist Sylvain Guérineau, he formed the duo Aliquid, which also appeared with Joe McPhee ( Quod, 2014). In addition to soloprograms, he also starred with Noël Akchoté / Roger Turner, Samuel Blaser, Émilie Lesbros, Jean-Luc Cappozzo, Sophie Agnel, Daunik Lazro and numerous other musicians, as well as the Fortuna 21 Octet of Raymond Boni and the department of education psychique on."-Wikipedia translated by Google (https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Jean-Marc_Foussat&prev=search)
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• Show Bio for Sylvain Guerineau
"Born on February 19, 1946 in Vendôme. A musical and pictorial journey over more than 40 years.
Paris after 68, from the street to the factories, with François Tusques and the whole French and American free scene: Avenel, Jenny-Clark, Delcloo, and so many others... Painting is an associated activity But from the 1970s "painting ignores me. "
A certain passage of Eric Dolphy - some remember it - in a certain Chapel of the street of the Lombards, in the company of Jacques Réda and Francis Marmande. And then Desmond, Ornette lived live - La Mutualité, November 1965, the controversy existed: idem Coltrane & Ayler.
We could hear him in duet, trio and quartet with Sunny Murray, Bernard Lubat and Francis Marmande, or in quartet with Jacques and Nicolas Mahieux as well as Olivier Benoit. One can also hear it on disc with Francis Marmande and Sunny Murray in the workshop of Alain Kirili, with Joëlle Léandre in "The cantata of the cauldrons", Editions Fourbis. Read also, at the same publisher, La Housse Partie by Francis Marmande.
At the beginning of the 90s the painting finds him again.
He frequents different scenes: Banlieues Bleues, Uzeste, Museum of Grenoble in duo with Murray around the sculptures of Kirili, etc. From January 2002, he played in the trio of Didier Lasserre, with Paul Rogers. It is this close collaboration that allows him to frequent, in trio or duet with Didier Lasserre, the "festival" Archimedes-Zoom in Bordeaux which gives them their first chance, then Favorite Things Jazz Association in Tarbes, Espace Puzzle in Caen, The CAPC Museum of Contemporary Art in the framework of Nov'Art / Bordeaux Jazz festival, the Château Croix-Beauséjour in Montagne St Émilion, Souffle de Rhythme in Toulon, the Fabrica'son in Malakoff...
He plays again with Sunny Murray with Henry Grimes in Henry Grimes & Friends at Atelier-Tampon in Paris in February 2005; In duet with Didier Lasserre at the AJMI of Avignon in April 2005.
Recently a new trio [Ter] was released at the beginning of 2006 at Marge with Didier Lasserre on drums & Benjamin Duboc on double bass and then a self-produced LP: "L'ombre plus grande " in 2008. Trio becomes quartet with Jobic Le Masson on piano or Arnaud Sacase on alto saxophone.
On the recording of the disc [Ter] he meets Jean-Marc Foussat who drags him " unwittingly of his own free will" into the previously unknown tracks of music Electronic devices. Aliquid was born in 2005 (with a record released on Leo Records in 2010) and then Quod - an increased Aliquid...
Recordings & solo tour in churches and abbeys: a solo disc "Dies Irae" was released at the end of 2006 at Amor Fati.
On 23 October 2008 at the Apsara bookshop, during his last concert at the viola Sylvain meets Thierry Carreras the drummer of the XoNdZf. The two men share the same ideas about music and especially about "free improvisation". They meet quickly with Dominique DuboisTaine the pianist to form the trio bBrrAx and begin to work regularly and perform in the Paris region.
In 2009, bBrrAx released the disc: " Freeture ", rather oriented free as the name suggests, at Believe. It's only online and it's downloadable everywhere (iTune, Fnac, Amazon, etc...)
In 2010, she played quartet in the church of Saint Eustache in Paris with Itaru Oki, trumpet, Joel Grip, double bass and Makoto Sato, drums. A recording of this quartet is available in CDR.
In 2011 recorded a duet with Benjamin Duboc for his three-disc set at Ayler Records.
The trio with Didier Lasserre, drums and Jean Rougier, double bass recorded "Ligne" at improvising-beings in 2012.
Participates with Aliquid at the Cairo Contemporary Music Days 2012 in Cairo.
Finds François Tusques, accompanied by Alexandra Grimal, saxophones.
Played in quartet with Thomas Dubois, trumpet, Yoram Rosilio, double bass and Makoto Sato, drums.
In 2013 plays in trio with Andras Vigh, hurdy-gurdy and Gaël Ascal, double bass.
In trio also with Jacques Pochat, saxophone and Jean Bordé, double bass.
The vinyl LP of Aliquid "Kriegspiel", is released at Nashazphone."-Sylvain Guerineau Website (translated by Google) (http://sylvainguerineau.free.fr/)
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• Show Bio for Joe McPhee
"Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music.
His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records.
In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective.
In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits."-Joe McPhee Website (http://joemcphee.com/bio.html)
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