A 4 CD anthology released on Jean-Marc Foussat's 60th birthday, presenting an amazing diversity of material from 40 years of recording, including early experiments, the development of his unique language, improv with Jean-Luc Cappozzo, Matthias Mahler, Joe McPhee, Paul Lovens, &c.
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Label: Improvising Beings
Catalog ID: ib38
Squidco Product Code: 21589
Format: 4 CDs
Packaging: 4 CD Jewel Tray Box Set
"Phyllauxckzairrah No. III" recorded on Janurary 20th, 1973 at Verrieres-Le-Buisson.
"Carte Postale" recorded on July 14th, 1975 at Igny.
"The Game" recorded in 1975 at Verri¸res-Le-Buisson.
"Le Lezard Marcio" recorded in 1977 at vers Cluny.
"La Reprise Des Vides" recorded in Feburary 2000.
"La Boutique Aux Fredaines" recorded on August 9th and 10th, 2013 at Poul An Marechal.
"Loope" recorded at 1975 a Igny.
"Wild Thing" recorded on May 23rd, 2011 at La Garenne-Colombes.
"Alternative Oblique" recorded at Feburary 16th 2015 at La Garenne-Colombes.
"Live At "Le Souffle Continu"" recorded at Feburary 7th, 2013 at Paris.
"Les Yeux Fermes" recorded at March 21st, at Paris.
"Torrent Vertical" recorded at April 24rd, 2015 ta Altamura (Italie).
"A Propos Des Reflexions" recorded on May 23rd, 2015 at La Garenne-Colombes.
"Ombres Dans Un Espace Sans Coude" recorded at May 17th, 2015 aNickelsdorf (Autriche).
"A Big Final Mess In Open Air At Nickelsdorf" recorded on May 16th, 2015 a Nickelsdorf (Autriche).
Jean-Marc Foussat-guitar, synthesizer, tapes, electronics
Pascal Bouscaillou-bass guitar
Antoine Potier-flute, percussion, soprano saxophone, voice
Helene Sage-flute, soprano saxophone, alto saxophone
Jean-Michel Laugier-soprano saxophone, alto saxophone, bass, voice
Jacques Sordoillet-tenor saxophone
Pascal Barres-tenor saxophone, electric piano, voice, percussion
Jerome Bourdellon-bass clarinet, flute, tambourine, tuba
Marc Dufourd-electric guitar, keyboards, percussion
Lea Dufourd-lead vocals
Maria Luisa Capurso-voice
Joe McPhee-cornet, saxophone
Fred Marty-double bass
Raymond Boni-electric guitar, mouth organ
a Irene Kepl-violin
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1. Les Jupons Volent Toujours Plus Haut 0:25
2. La Lamentable Stupefaction Des Drosophiles Twenty Five 9:56
3. Carte Postale Pour P.P. 5:34
4. The Game N8 9:11
5. The Game N6 1:51
6. The Game N4 1:56
7. The Game N2 2:15
8. Un Peu De Soupe... Pour Commencer 1:50
9. Fanfare 1 - Petite Mise En Forme 0:45
10. On N'A Rien Sans Rien 1:16
11. The Game N1 1:12
12. A La Gare 1 0:22
13. A La Gare 2 0:47
14. Fanfare 2- Le Depart 1:53
15. Voyage De Reve 1:39
16. Meteo 0:33
17. Reve D'Arret Nie... 0:59
18. Tea For Two 0:30
19. ... Mais Cela Ne Tournerait-Il Pas Au Cauchemard 1:05
20. Fanfare 3 - La Savane Hier 1:23
21. Controle 0:43
22. Vexation 1:03
23. L'Echappee Etait Belle 0:18
24. ... Mais Ca N'Etait Pas La Fille D'Ipanema 1:07
25. Sans Titre 0:54
26. Il Faut Se Faire Une Raison 1:27
27. Progression Africanophile 1:26
28. Correspondance 4:15
29. Ah... 0:10
30. Tout Ca Pour En Arriver La 2:16
31. A L'Air Libre 1:14
32. Jusqu'Au Dernier 1:37
33. La Chambre D'Ami 0:34 CD2
1. Run, Run Petty Pat Upon 9:26
2. Barbarity 4:50
3. Human You Mean 6:46
4. Memoranda IV 4:27
5. The Vanishing - Under Those Deep Outlets 2:26
6. Health Museum 7:15
7. Alarm - Northern Pre-Gap 1:30
8. Fleeting Behaviour 3:07
9. Loop Level Pool 23:55
10. La Boutique Aux Fredaines Et Autres Caprices Annexes 1:43
1. Loope 23:56
2. Wild Thing (Tribute To J.H.) 21:03
3. Alternative Oblique 17:26
4. Live At "Le Souffle Continu" 15:22
1. Les Yeux Fermes 25:00
2. Torrent Vertical 11:55
3. A Propos Des Reflexions 11:38
4. Ombres Dans Un Espace Sans Coude 7:21
5. A Big Final Mess In Open Air At Nickelsdorf 23:59
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sample the album:
"This 4-disc anthology chronicles 40 years of unreleased material culled from Jean-Marc Foussat's archive, prepared for his 60th birthday. The first disc features short pieces from 1973-1977 that document his early sonic experiments with homemade electric guitar and later with the vintage portable analogue synthesizers, radio waves and magnetic tapes, with the prog-rock group Phyllauxckzairrâh N° III and the anarchistic prog-fusion group Le Lézard Marçio.
The second disc stresses Foussat's unique musical language in a free-improvised setting with the group Thrash the Flash, featuring him playing his analog synthesizer, digital piano, tapes and voice and with guitarist Marc Dufourd, vocalist Lea Dufourd and clarinet and flute player Jérôme Bourdellon. These recordings from 2000 and 2013 highlight his role as a sonic magician, producing a stream of spacey, noisy and weird sounds that are the driving force behind these wild, again anarchistic improvisations, even when the improvised textures tend to adopt a bluesy pattern.
The third disc traces the development of Foussat innovative musical language on the EMS synthesizer with clever usage of voice samples through four extended solo pieces. The first from 1975 is ethereal, minimalist piece but the rest are much more complex, multi-layered and feature this vintage electronic instrument as an infinite sound generator, producing a busy flow of disturbing, yet vivid and nuanced textures.
The fourth disc is the real treat, presenting Foussat "with others", in different ad-hoc free-improvised settings, all recorded in 2015. First with trumpeters Jean-Luc Cappozzo & Nicolas Souchal and trombonist Matthias Mahler in a 25-minutes of arresting sonic searches that highlight the emphatic interplay and the distinct voices of each of the musicians. Following is a sparse improvisation with vocal artist Marialuisa Capurso and drummer Dirar Kalash. The third is a haunting, cinematic texture, charged with Foussat brilliant usage of voice samples, with Joe McPhee playing only the pocket trumpet and experimental double bass player Fred Marty. The last two improvisations were recorded at Jazzgalerie Nickelsdorf in Austria, when the gallery present its homage event to McPhee in May 2015. The first one is a delicate, short one with German drummer Paul Lovens. The second one is 25-minutes slow-burning improvisation that feature trumpeter Thomas Berghammer, guitarist Raymond Boni, the gallery mastermind Hans Falb on turntables, violinist Irene Kepl, McPhee on saxes, voices and trumpet, cellist Noïd and drummer Makoto Sato.
Highly recommended."-Eyal Hareuveni, freejazzblog.org
Get additional information at Free Jazz Blog
• 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 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 Nicolas Souchal
"Nicolas Souchal: trumpet, bugle, composition. Born in 1979.
Nicolas Souchal is a French trumpet player, active in contemporary jazz and improvised music. He is recognized for his sense of construction in improvisation, his expressive sonority, and his playing including the extended techniques of the instrument. His approach is borrowed from musicians such as Don Cherry, Jean-Luc Cappozzo, Axel Dörner, and Daunik Lazro.
In 1997 in Clermont-Ferrand, he was a founding member of the Collectif Musique en Friche, a bubbling crucible of experiments, close to the ARFI (Association for the Research of an Imaginary Folklore). He developed two wind duets, one with Franck Pilandon, the other with Christiane Bopp, and more recently the quartet Les arbres moved during the night, improvised instrumental music and sound diffusion.
Since 2000, composer and arranger with the Balkan Brass Band, as well as the nebabylonian jazz quartet Humbaba, he appropriates and recomposes the traditional music of Eastern Europe.
Since 2010, he has been heard in various formations on the Parisian scene: Pavillon Rouge (Jean-Luc Cappozzo, Matthias Mahler, Jean-Marc Foussat), ARBF & Hmadcha in Essaouira (meeting between big band free jazz and Sufi musicians Yoram Rosilio), Quintet Cuir (improvised epidermic music, with Jean-Brice Godet, John Cuny, Yoram Rosilio, Jérôme Fouquet)"-Nicolas Souchal Website (translated by Google) (http://www.nicolassouchal.fr/a-propos-de-nous/)
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• Show Bio for Dirar Kalash
"Dirar Kalash resides in Ramallah, Palestine and is one of the foremost improvisors in the Middle East. He works with a range of improvised sound/music and art practices.
Dirar Kalash's live performances combine text, sound, image, video and movement. Regularly using free and open-source software in the field of real-time audio, video and image processing, he is also a multi-instrumentalist and engages in musical composition and free improvisation. His work is based on everyday life as a phenomenon, which is then subjected to live processing, composition and decomposition in order to transcend time and matter to a ritualistic live performance.
His group participations include a live audio-video performance for the 2011 /si:n/ Festival of Video Art and Performance in Ramallah, and a video and sound installation for the 2011 Open Studio exhibition at the Khalil Sakakini Cultural Centre (Ramallah), in addition to regular musical performances in Palestine and Egypt, in the field of free and improvised music."-ICA.org, tubersmusic (https://www.ica.org.uk/whats-on/dirar-kalash-live-performance)
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• Show Bio for Maria Luisa Capurso
"Maria Luisa Capurso is an Italian singer, sound artist, composer and performer based in Berlin. Her work is multidisciplinary and focused on the connection between voice, sound, field recordings, body and improvisation. She investigates and explores the realm of acoustic sounds and electronic interfaces as extension of human voice. Art and life, sound and movement, the common line is the improvisation which leads her to research and to create new worlds. She studied Theater and dance at "Accademia Stabile del Musical", she graduated with a bachelor of jazz music at Conservatory "N.Piccini" in Bari, Puglia, and with a Master of new musical languages and technology at the Conservatory "N.Rota" in Monopoli, Puglia. She studied with Meredith Monk, Faheem Mazaar, Chiara Guidi, Michela Lucenti, Patricia Bardi, Barry Harris, Zeno Gabaglio, Carlos Zingaro, Dave Moss, Kent Carter, Karl Berger, William Parker, etc. She sang the contemporary solo pieces for voice "Lettura di Braibanti" with and for Sylano Bussotti. She recorded with the Hocus Pocus Orchestra and William Parker the album "What Shall We Do" for Silta Records."-Jean-Marc Foussat at Free.Fr (http://jm.foussat.free.fr/MC.htm)
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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 Fred Marty
"Fred Marty was born in Blaye (Gironde) in 1970. After studying classical bass studies, he devoted his work to improvisation and experimentation of various game modes on bass. He strives to develop a personal language, inspired by everyday sounds, making some forget the bass itself (distorted sounds, harmonics "gaps" in incomplete or misleading spectrum percussion sounds without specific height, sounds The rubbing of the fingers or the hand on the body of the double bass). He also modifies the timbre by inserting between ropes of wooden or metal rods. Each part of the body of the double bass becomes an instrument of its own.
Thus, co-creation he also collaborated in multidisciplinary projects combining dance, music, and video playback, including Anne Ropers collective recidiva in UNICA, a project calling itself "night moves" around the collection of poems of the same Title of Henri Michaux, or with Bérengère Altieri-Leca in the duo OKAMI.
Fred Marty has played with Yuko Oshima, Ai Watanabe, Birgitte Lyregaard, Yoko Arai, Frederic Blondy, Edward Perraud, Itaru Oki, Claude Speaks, Xavier Lopez, Michel Doneda Sebastien Bouhana, Marcos Fernandes, Usui Yasuhiro, Alvise Sinivia Michael Nick, Daunik Lazro, Isabelle Duthoit, Benoit Cancoin, Matsumoto Kenichi, Jean Marc Foussat, Yoko Arai, Eric Dambrin John Cuny, Jean Brice Godet, Alexandre Bellenger, Nush Werchowska Mathieu Garrouste Pascal Marzan, Cyprien Busolini, Nicolas Souchal, Deborah Walker, Patricia Bosshard, Jean-Marc Foussat, Yoko Miura, Francesco Pastacaldi Richard Comte, Hideo Ikegami, Ugo Boscain and works with dancers of butoh Gyouhei Zaitsu, Maki Watanabe and dancer Bérengère Altieri-Leca.
Since 2012 he is a member of ONCEIM, an orchestra conducted by Frédéric Blondy."-Fred Marty Website translated by Google (https://fredmartydoublebass.wordpress.com/a-propos/)
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• Show Bio for Paul Lovens
"Born in Aachen, Germany, 6 June 1949; Drums, percussion, musical saw, etc.
Paul Lovens played the drums as a child. Self-taught, from the age of 14 he played in groups of various jazz styles and popular musics and from 1969 has worked almost exclusively as an improvisor on individually selected instruments. He has worked internationally with most of the leading musicians in free jazz and free improvisation, among whom have included the Globe Unity Orchestra, the Berlin Contemporary Jazz Orchestra, the Schlippenbach trio, Quintet Moderne, Company, and a duo with Paul Lytton. He has undertaken concert tours in more than 40 countries, is a founder member of a musician's cooperative and has produced recordings for his own label, Po Torch Records since 1976. He has worked with painter Herbert Bardenheuer. Despite very rare solo performances, and although giving occasional concerts with ad-hoc groups and an involvement in projects with film, dance and actors, Paul Lovens' main interest and work is musical improvisation in fixed small groups. In the mid-1990s these small groups numbered around 16, of which a few were part of a special selection, called 'vermögen'.
Paul Lovens somehow epitomises the free drummer/percussionist who is not there to lay down the beat and kick everyone else into action but to listen, colour, contribute, guide, and occasionally direct, the overall cooperative sound. In concert one cannot fail to be moved by his intensity and concentration and there is an overiding feeling that even the most random events are somehow planned in time. In this respect, there is a nice irony that on the Nothing to read CD with Mats Gustafsson, Lovens describes his kit as consisting of 'selected and unselected drums and cymbals'. Miking seems to be a problem at times with some recordings giving him undue prominence and others insufficient. Good recordings are Elf bagatellen, Nothing to read, Pakistani pomade, and ,stranger than love."-European Free Improv (http://www.efi.group.shef.ac.uk/mlovens.html)
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• Show Bio for noid
"noid /aka Arnold Haberl *1970, studied cello and mathematics. He is teaching at the Multimedia-Art department of the University for Applied Science in Salzburg.
The composer, sound-artist, cello player and improvisor understands his work as fundamental research leading to a wide range of contradictory outcome. Spanning from cello-solo and tape-pieces to compositions for ensembles, improvisation scores or performances with electronic or hybrid instruments, from sound-installations to videos and imaginary music. Also his contributions as a programmer for the freeware "ppooll" (http://ppooll.klingt.org) can be seen in this context. What makes his cello playing special is his approach to find a world within instead of trying to expand the range of the instrument. Looking at the instrument as a fact or maybe even a score in itself without obeying the historical connotations."-noid Website (http://noid.klingt.org)
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• Show Bio for Raymond Boni
"Influenced by musicians as diverse as Django Reinhardt and Cecil Taylor, French guitarist Raymond Boni has developed a unique and dazzling style derived from gypsy technique. After studying the piano and switching to the harmonica, Raymond Boni learned how to play the guitar with Gypsies living near his home. This empirical experience would leave a permanent imprint on Boni's approach to the instrument. In the early '60s, still a teenager, he decided to go study in London. Surrounded by a very diverse and creative musical environment, Boni decided to get serious about the guitar and to break from the musical framework of musical academia. Back in France, he settled in Paris where he was among the first French musicians to embrace free jazz and free improvisation. His first major collaboration was a long-lived duo he formed with guitarist Gérard Marais in 1973. In 1976, he joined the André Jaume/Gérard Siracusa duo and worked with saxophonist Claude Bernard. The latter was also responsible for allowing Boni to fulfill his ambition to compose for and perform with dancers.
In 1978, he started a long relationship with Joe McPhee, which produced some stellar albums such as Old Eyes & Mysteries and Oleo & a Future Retrospective and a tour in the U.S. and Canada (1985). In 1981, Boni moved to Marseille where he was not able to perform as often as in Paris. As an alternative, he focused on writing and diversified his projects. In 1982, he met dancer and choreographer Geneviève Sorin and started to compose music for her company. Raymond Boni also continued to foster some old partnerships while developing new ones with accomplished artists such as Les Mistrals with British improvisers Terry Day and Max Eastley. In the '90s, the guitarist worked extensively with musicians from younger generations, most notably Claude Tchamitchian and Eric Echampard. Boni also multiplied collaborations with artists having a background other than jazz but a bent for improvisation. Another worthy project is Boni's Family with Sorin and son Bastien Boni, which honors his Gypsy legacy and capitalizes on his talented household. In 2001, Boni reunited with McPhee for an album, Voices & Dreams, and several concerts in the U.S. and Europe."-All Music, Alain Drouot (http://www.allmusic.com/artist/raymond-boni-mn0000352490)
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