A large excerpt from the tribute to Albert Ayler concert presented at Fondation Cartier, Paris on December 2nd 2010 with Joe Mcphee, Evan Parker, Barre Phillips, John Tchicai, Jean-Luc Cappozzo, Jean-Jacques Avenel, &c. &c.
Catalog ID: R0G-040
Squidco Product Code: 16394
Recorded on December 2nd, 2010 at Fondation Cartier, Paris, France by Jean-Marc Foussat.
Jean-Jacques Avenel-double bass
Jacqueline Caux-spoken words
Jean-Luc Cappozzo-trumpet, flugelhorn
Steve Dalachinsky-spoken words
Joelle Leandre-double bass, vocals
Urs Leimgruber-soprano saxophone
Didier Levallet-double bass
Joe Mcphee-tenor saxophone, flugelhorn
Barre Phillips-double bass
Michel Portal-bass clarinet
John Tchicai-alto saxophone
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1. Jacqueline Caux 3:57
2. Raphael Imbert, Urs Leimgruber, Joe McPhee, Evan Parker, John Tchicai 5:49
3. Jean-Luc Cappozzo, Sylvain Kassap, Christian Rollet 4:37
4. Steve Dalachinsky, Joelle Leandre, Barre Phillips 7:41
5. Ramon Lopez 3:13
6. Ramon Lopez, Barre Phillips, Michel Portal 4:10
7. Jean-Jacques Avenel, Simon Goubert, Joe McPhee 3:23
8. Jean-Luc Capozzo, Joe McPhee 3:49
9. Evan Parker 3:44
10. Joelle Leandre, Urs Leimgruber, John Tchicai 6:44
11. Simon Goubert, Raphael Imbert, Sylvain Kassap, Didier Levallet 5:31
12. Joelle Leandre, Urs Leimgruber, Lucia Recio 6:40
13. Joe McPhee 5:12
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sample the album:
"Would it be that when everything finishes that everything starts? Rather than a postlude or a coda, the five minutes a cappella by Joe McPhee on the tenor saxophone placed here in thirteenth position, sound like a song of love and hope coloured utopia which condenses the invisibility of lives which are here and then are no longer here.
from the effervescence of an aviary where chirpings and warbling intersect (from Raphael Imbert, Urs Leimgruber, McPhee, Evan Parker and John Tchicai each sax seeming to seek its place in the mosaic puzzle of the memory) to promising flighty duels, then to a fine line drawn trio - of shivering brass (Cappozo), woody reed (Kassap) and simmering percussion (Rollet) - progressively repeating - pounding towards an exacerbation of a growling or a gentle explosion, a prelude to a dance of words like as many sparks (Dalachinsky) roped together con arco and solemn pizzicatos (Léandres, Phillips). Thundering alternations of the funeral echoes of the talking drums of Ramon Lopez and the deep melodies of a Portal who from 1976 (in Chateauvallon) paid homage to aylerian Angels - placed here, the trio of the basque musician with Lopez and Phillips seems to preface the outburst of husky lyricism of his instrumental counterpart (Avenel-Mcphee-Goubert ), then, as if to underline McPhee's multi-instrumental expertise, the latter was to engage with Cappozzo in a gay dialogue of trumpeters, a mixture of muffled pistons, effects of breathing and brass tirades with scents of a mini-fanfare. Logically it's a sort of "duo" that follows: a dialogue with himself, by the saxophonist Evan Parker by means of the virtuosity of circular breathing permitting as always this fascinating diphonism. As for the penultimate phases of this polyphonic hirsutism, fortified by explosions, whirlwinds, chants, howls, bubblings and very high pitched sounds, everything happens as if the last cry recalled, as in a trance, a certain aylerien spirit - did not Robert Schumann write "Music is what permits us to speak with the heavens"."-Philippe Carles, from the liner notes
• Show Bio for Jean-Luc Cappozzo
"Jean-Luc Cappozzo was born in Belfort, France, in 1954. He started playing the trumpet in the local orchestra of his native town where he performed both jazz and classical music. Following a meeting with the diatonic accordionist Serge Desaunay, he started to perform traditional music as well.
His meeting with Dizzy Gillespie in 1984, who invited him to participate in his concert, was a turning point in Jean-Luc Cappozzo's career.
In 1988 he obtained the State Diploma of Professor of Jazz and subsequently taught trumpet improvisation at the Music School of Lyon (CNSM).
He has taken part in various groups of musicians of the ARFI.
He has been a member of he Louis Sclavis Quintet "L'Affrontement des Prétendants" and of Claude Tchamitchian's "Grand Lousadzak". In addition he has played in Sophia Domancich's Quintet "Pentacle", the Denis Fournier Quartet and with Joelle Léandre's Quintet "Fragments et suite lyrique". He has formed a quartet with Jean Aussanaire , Rémi Charmasson and Bernard Santacruz and created a musical work "Du Vent chez Johannes" with the Johannes String Quartet.
In 2005 he joined the European Mythical Orchestra: the Globe Unity Orchestra. He has played with the Apollo Trio and composed duo s with the cellists Joelle Léandre or Eric Brochard, the singer Géraldine Keller, the drummer Paul Lovens, the tuba player Michel Godard, the pianist Umberto Petrin and the trumpet players Axel Dorner or Herb Robertson. Actually, he is playing with: - "The Bridge" with Joëlle Léandre (cb), Bernard Santacruz (cb), Mickaël Zerang (dms) and Douglas Ewart (sax - flûte) - - " Can You Hear Me" of Joëlle Léandre (cb) - " 2 ème étage " with Christine Wodrascka (p) and Gerry Hemingway (dms) - Duo with Famoudou Don Moye (dms) - Duo with Cécile Cappozzo (p) - Quartet à l'Ouest with Jean Aussanaire (sax), Eric Brochard (cb) and Alfred Spirli (dms) - Duo with Géraldine Keller (voice) - Duo with Eric Brochard (cb) - Trio with Didier Lasserre (dms) and Paul Rogers (cb) For his strength, his creativity, his magnificent sonority, the clarity of his phrasing, Jean-Luc Cappozzo is today an indispensable trumpet player on the European musical scene and is in increasing demand. Jean-Luc Cappozzo, powerful and mellifluous trumpet player, is "a discreet man who would blush to be labeled one of the most relevant soloists and the most complete on the French jazz scene. He may blush".(S. Siclier, Le Monde 1/08/2002)"- Website (http://www.jlcappozzo.fr/biographie-jean-luc-cappozzo)
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• Show Bio for Sylvain Kassap
"Born in 1956, French Clarinettist Sylvain Kassap has been one of the greatest improv jazz musicians since the late 70s. A major player on the avant-garde scene, Kassap has performed with Louis Sclavis, Michel Portal, Henri Texier, Bernard Lubat, François Tusques, and many other cutting-edge French musicians. He has also played along side a large number of innovative international musicians such as Evan Parker, John Surman, Barre Philips, Sam Rivers, Hamid Drake, Han Bennink.
Kassap uses his clarinets in ways that go well beyond conventional melodic and harmonic expectations. With percussive bursts and textural sounds, Kassap expands the range and vocabulary of the instrument. He has also been a pioneer in fusing the arts, collaborating with actors, dancers and writers. And, he has made occasional forays into contemporary classical music, performing works by John Cage, Karlheinz Stockhausen and other experimental composers. From free improvisation to contemporary and ethnic music, leading French clarinetist Sylvain Kassap explores a world that is rich in colour and finesse, animated by an unquenchable spirit of freedom."-France in Canada (http://www.ambafrance-ca.org/The-Sylvain-Kassap-quartet-in)
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• Show Bio for Joelle Leandre
"Joëlle Léandre (born 12 September 1951 in Aix-en-Provence, France) is a double bassist, vocalist, and composer active in new music and free improvisation.
In the field of contemporary music, she has performed with Pierre Boulez's Ensemble InterContemporain, and worked with Merce Cunningham and John Cage. Both Cage and Giacinto Scelsi have composed works specifically for her.
She gave an historic solo concert in "Jazz em Agosto" in 2007 (Calouste Gulbenkian Foundation, Lisbon, Portugal). In this same top jazz festival, Léandre performed also in the "Quartet Noir", a quartet with quite rare live performances, with Marilyn Crispell, Urs Leimgruber and Fritz Hauser.
She has also collaborated with some of the preeminent musicians in the fields of jazz and improvised music, including Derek Bailey, Barre Phillips, Anthony Braxton, George Lewis, India Cooke, Evan Parker, Irène Schweizer, Steve Lacy, Maggie Nicols, Fred Frith, Carlos Zingaro, John Zorn, Susie Ibarra, J. D. Parran, Kevin Norton, Eric Watson, Ernst Reijseger, Akosh S. and Sylvie Courvoisier.
In 1983 she became a member of the European Women Improvising Group (EWIG), which resulted from former Feminist Improvising Group and in later 1980s she co-founded the feminist improvising Trio Les Diaboliques, with Schweizer and Nicols."-Wikipedia (https://en.wikipedia.org/wiki/Jo%C3%ABlle_L%C3%A9andre)
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• Show Bio for Ramon Lopez
"Ramon Lopez was born on August 6th 1961 in Alicante, Spain. Drummer, Percussionist and Composer. He began as a self-taught drummer in the mid-1970's. Witnessing a Max Roach solo concert in 1980 was a turning point that fundamentally changed his understanding of music. He was part of local groups until he decided to move to Paris in January 1985 and became increasingly involved in the experimental scene in France. At the same time, he developed an interest in Indian music, and took tabla lessons with Krishna Govinda K.C. He is currently a student of Pandit Subhankar Banerjee, while teaching Indian music himself with Patrick Moutal at the Paris Conservatory (1994-2001) His first recording as a leader, an album of solo drums, was released in 1997 on the British Leo label linked to free jazz music and improvisation. Besides Jazz and Indian music, he is attracted especially to flamenco music. He has worked with some of the great flamenco artists, among them Carmen Linares, Esperanza Fernández, Inés Bacán, Gerardo Núñez, Rafael de Utrera, Chano Domínguez, etc... His musical endeavours have always been challenging; his interpretation of songs from the Spanish civil war (2001) spring to mind, or his duos dedicated to Roland Kirk (2002). From 1997 to 2000 he was drummer in the renowned French Orchestre National de Jazz under Didier Levallet, who continues to expand the traditional vocabulary of the orchestra with new elements. Among many others, Lopez has worked at concerts and festivals and in the recording studio with the following musicians of the jazz avant-garde: Beñat Achiary, Rashied Ali, Majid Bekkas, Anthony Coleman, Andrew Cyrille, Sophia Domancich, Agustí Fernández, Glenn Ferris, Sonny Fortune, Barry Guy, Charles Gayle, Teppo Hauta-Aho, Howard Johnson, Hans Koch, Joachim Kuhn, Daunik Lazro, Jeanne Lee, Thierry Madiot, Roscoe Mitchell, Joe Morris, Ivo Perelman, Enrico Rava, Paul Rogers, Louis Sclavis, Alain Silva, Archie Shepp, John Surman, Claude Tchamitchian, Mal Waldron, Christine Wodrascka... Ramon Lopez is an un-typical percussionist. He is a musician who has mastered a number of different musical traditions. He loves to work with artists from other disciplines, with actors, choreographers or visual artists. He is currently one of the most respected European musicians in the area of contemporary jazz or improvised music. The French government named him "Chevalier of the Order of Arts and Letters" in 2008."-Jorge García, Institut Valencia de la Musica.-Ramon Lopez Website (http://www.ramonlopez.net/bio.html)
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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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• Show Bio for Evan Parker
"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."
Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.
He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.
Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."
A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."
While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."
The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".
Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.
Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "-Evan Parker Website (http://evanparker.com/biography.php)
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