A long continuous work from this trio of soprano saxophonist, free improvisation using extended techniques and unusual approaches to the instrument.
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Catalog ID: 103
Squidco Product Code: 12519
Packaging: Jewel Tray
Recorded by Pierre-Olivier Boulant at Les Entre-peaux, Toulouse, on May 26th, 2002.
Michel Doneda-soprano saxophone
Alessandro Bosetti-soprano saxophone
Bhob Rainey soprano-saxophone
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One continuous piece 41:39
(with added track indexes)
Related Categories of Interest:
European Improv, Free Jazz & Related
descriptions, reviews, &c.
"Alessandro Bosetti, Michel Doneda, and Bhob Rhainey work with the most rarefied materials in the most high art of settings on the Placés dans l'air CD (Potlatch), at times indistinguishable from Hautzinger, Dörner and Rives. lronically, or perhaps by design, Placés dans l'air resembles the sound of machinery. Scale and chord studies à la Marcel Mule have been done away with. This barren, unforgiving landscape is not without its beauty, but also without the amenities and conveniences of home.
This manifestation of posttonality, instead ofdensely packing explosions of possibility, retums compositionally to plainchant; startling enough, but consider mat the trio in large part replaces tone (which in plainchant ain't all that much in the first place) with inhalations and barely audible squeaks, and further that saxophones sound like the trumpet of Hautzinger, and we have a peek into both the advanced state of appropriation and its place in musical creation.Plainchant exorcises Placés dans l'air of any sudden moves or secular, libidinous sentiment. The saxophones are brought to edge of their designed abilities at a deliberate, plodding pace. Effete and lofty, yet dilute and dynamics-free, the music demands a fetishist's love of the saxophone and fascination with the tiny and subtle. The drama is visible to anyone willing to endure expanses of silence and inaction while looking througb the microscope to see it all unfold. Long, drawn out, carefully sounded harmonics induce visions of those Tibetan prayer bowls mystically appointed liberals adore. Despite the misty, airy nature, one is always reminded of mechanization. Anticipation of an album with lots of whistling and lisping, harmonics and nontonal blowery couched in dramatic silences does not go unfulfilled.As a work it is more a symptom of the larger capitalist dehumanization process at work, among which there are nevertheless resident syntax and avenues of idiomatic invention.
As with the move from great analog video equipment to primitive digital equipment, Bosetti et al. are dealing with a new technology, a new aesthetic, a new engine, a new way of doing things. The centrality of these sounds are unique to these times - or certainly the acceptance and incorporation of them is new - as they are the stuff that hom players used to practice away from, that which used to be synony-mous with necessitaûng a second take. Bosetti, Doneda and Rhainey do not have extra tendons in their embouchures that Bechet or Coltrane didn't. Instead, the world, how and to whom its riches have been allocated, its declining ecology, and what has passed beneath the musical bridge up to this point are what influence the creation of these sounds in this way and this stratagem of doing things."-Stanley Zappa, Bananafish
• Show Bio for Michel Doneda
"Michel Doneda (F) soprano saxophone, born in 1954, comes from the French South-West. He is a self-taught musician.
In 1980 he founded in Toulouse a reed trio: HIC ET NUNC, a group that toured quite a lot in France, playing mostly improvised music. At the same time he founded with musicians, dancers and actors a place called IREA (Institute for research and exchange between arts of improvisation).
In the following years, he participated in music projects with other artists and he became a regular guest of the Chantenay-Villedieu festival. Meeting other artists he developed a very personal approach with his music and his instrument in improvised music. During this period he played with Europeans musicians: Fred Van Hove, Phil Wachsmann, Max Eastley, Steve Beresford and Americans: John Zorn, Eliott Sharp, Elvin Jones
In 1985 he made his first record under his own name: TERRA (Nato record). At the same time he started playing regurlarly with Lê Quan Ninh, Daunik Lazro, Benat Achiary, Martine Altenburger, Barre Phillips, Paul Rogers, Tetsu Saitoh, Kazue Sawai. More recently he developed his work with Keith Rowe, Gunter Muller, Bhob Rainey, Giuseppe Ielasi and dancers as Masaki Iwana, Yukiko Nakamura, Valérie Métivier and poets, actors.
Since then, he has been very involved in the international improvised music scene, toured in Africa, Japan, Asia, USA, Canada, South America, Russia and with a lot of improvisers in Europe. In 1992 he founded in Toulouse with musicians, actors, poets, dancers the association: La Flibuste. As of today he recorded almost 50 records for European, Americans and Japanese labels."-Timeart Ensemble Website (http://www.zeitkunst.eu/ta/)
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• Show Bio for Alessandro Bosetti
"Alessandro Bosetti (Born Milano, Italy, 1973) is a composer, performer and sound artist currently based in Marseille.
Most of his works delve on musicality of spoken language and sonorous aspects of verbal communication. He utilizes misunderstandings, translations and interviews as compositional tools.
He has been presenting pieces for voice and electronics blurring the line between electro acoustic composition, aural writing and performance in leading venues as the GRM/Presences Electroniques festival in Paris, Roulette in NYC, The Stone in NYC and Cafe OTO in London among many more all over Europe, Asia and the United States.
One of the most innovative radio artists of his generation he created a vast body of work of hybrid, award winning, text-sound and radio compositions for the main Radio and Electro Acoustic Music studios in Europe, most notably for the historical WDR's Studio Akustische Kunst in Cologne and Deutschland Radio Kultur in Berlin.
Most recently he was awarded the Phonurgia Nova prize 2012 for his composition "636" (RTBF 2010) and the IDAF prize 2013 for his performance "Mask Mirror" an instrument and software that reorganizes speech for musical purposes enacting an electronic ventriloquism.
Since 2009 he started exploring repetitive speech-loop forms with his ensemble Trophies with drummer Tony Buck and fretless guitarist Kenta Nagai. Trophies has released three CDs and tours regularly. Further ongoing collaborations are with pianist Chris Abrahams (The Necks), composer vocalist Jennifer Walshe and vocalists Tomomi Adachi and Amelia Cuni.
As a concert composer he has been writing for ensembles as the Kammerenseble Neue Musik and Die Maulwerker in Berlin while upcoming collaboration include a project for the Janacek Opera house in Brno and a new vocal piece for the Neue Vokalsolisten Stuttgart. Renard, a cycle of chamber pieces for guitar, clarinet and voice commissioned in 2013 by the Besançon museum of Contemporary Art has just been released as an LP by Les Presses du Reel.
Although being known in recent years mostly as a solo performer past and present collaborations include musicians as Sophie Agnel, Serge Bagdassarians, Boris Baltschun, Günter Christman, Rhodri Davies, Michel Doneda, Axel Dörner, Annette Krebs, Peter Kowald, Giuseppe Ielasi, Phil Niblock, Enrico Malatesta, Renato Rinaldi, Christian Kesten, Bhob Rainey, Hankil Ryu, Otomo Yoshihide, Ches Smith, Taku Sugimoto, Taku Unami along with writers Charles Pennequin and Kim T'ae Yong and typographers Indre Kilimaite and Annette Stahmer.
Bosetti has published more than ten CD's under his own name on labels as Errant Bodies Press, Monotype, Rossbin and Sedimental and many others in different collaborative settings."-Alessandro Bosetti Website (http://www.melgun.net/about/)
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