Stepping away from the saxophone, composer/improviser Jean-Luc Guionnet presents two large compositions for the organ, each taking a single CD to explore the organ's border effects, resonances, natural saturations, all artefacts that sign the acoustic, analogic, digital, process.
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Label: Herbal International
Catalog ID: 0901-2
Squidco Product Code: 20791
Format: 2 CDs
Packaging: Cardboard Gatefold 3 Panels
Recorded by Jean-Luc Guionnet.
Jean Luc Guionnet-organ, composer
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• Show Bio for Jean Luc Guionnet
"Jean-Luc Guionnet is an elusive figure. A Parisian artist active in many fields (music, visual arts, cinema), he has mostly worked in electro-acoustics but also has a career in free improvisation, playing alto saxophone, soprano saxophone, church organ, and piano. He has collaborated with Éric La Casa, Éric Cordier, and André Almuro on tape music. His main free improv and jazz projects include Hubbub, Schams, Return of the New Thing, and the Joe Rosenberg quintet.
Guionnet made scientific studies before shifting to fine arts. He studied musique concrete under Iannis Xenakis and Michel Zbar, but also pursued studies in philosophy (esthetics) with Geneviève Clancy. His first works date from the late '80s and are mostly collaborations with filmmaker André Almuro (some have been issued by Ground Fault). Then came a lasting partnership with electro-acousticians Éric Cordier and Éric La Casa. Together they wrote the series "Afflux." Guionnet also produces the Ateliers de Création Radiophoniques ("creative radio workshops") for France Culture. His eclecticism has kept him at bay of recognition -- because to the eye of the press it strips him from some credibility and because running careers in philosophy (he was co-director for the review Terre des Signes from 1993 to 1996), painting (he exhibited from 1992 to 1997), and music simultaneously tends to be time-consuming.
The release of an eponymous CD by Dan Warburton's free jazz quartet Return of the New Thing in 1999 on the respected label Leo Records introduced Guionnet to a wider audience. Since then his activities as an improviser have constantly stretched toward the fringes of experimentalism. His participation in the French-Swiss group Hubbub and his duo with guitarist Olivier Benoit (&Un, 2002) follow the school of Berlin reductionism."-All Music, François Couture (http://www.allmusic.com/artist/jean-luc-guionnet-mn0000231714)
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1. Non Organic Bias 21:31
2. Espace Bas 49:59
1. Estuaire 54:18
sample the album:
"Other then the play of words that sum up many of my main points of interests with the organ (organ - organum - organism - organic - etc.), the title, bias, means prejudice, focussing on, interest in, systematic distortion, irregular shape, oblique course, predisposition, partiality, from the french biais, all of them signifiing for me a sort of base of living organism. Inclinations going through material, warped matter, a form full of inner slopes, a material that bends... non-organic bias : to rediscover the bias of a sound machine (the organ) and then, keeping the same concerns, following up these bias' up until the membrane of the speaker, passing through the whole electroacoustic network. To compose with the technical issues, to be on the hunt for forms and artefacts that the techniques produce, when, following its own tendencies (bias), it is brought to its own limit : border effects, resonances, natural saturations, all artefacts that sign the acoustic, analogic, digital, process. To compose with the tendencies of the non-organic, and with the tendencies toward the non-organic : these are the 2 possible meanings of non-organic bias. "Non-organic bias" is dedicated to Franck Gourdien."-Jean-Luc Guionnet
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