"French pianist Sophie Agnel and sax player Daunik Lazro can create a whole sonic universe every time they touch their instruments. Weird and intriguing universes that refuse to conform to any familiar musical convention yet offer profo...
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Label: Fou Records
Catalog ID: FR - CD 21
Squidco Product Code: 23428
Packaging: Cardboard Gatefold
Recorded at "DOM" Cultural Centre, in Moscow, Russia, on June 22nd, 2016, by Maxim Khaykin.
Daunik Lazro-tenor saxophone, baritone saxophone
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1. Avec Ki. 10:36
2. Avec Ka. 4:23
3. Cat's Shoe 7:08
4. Ma-Ox-An 9:17
5. Bbystro! 3:47
6. Ochi Chornye 6:34
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In Stock, Not Yet Cataloged
European Improv, Free Jazz & Related
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"French pianist Sophie Agnel and sax player Daunik Lazro can create a whole sonic universe every time they touch their instruments. Weird and intriguing universes that refuse to conform to any familiar musical convention yet offer profound and arresting poetic sensibility and inventive game-like plays. These two master improvisers began to collaborate a decade ago in Lazro short-lived quartet Qwat Neum Sixx (that has released only one album, Live at festival NPAI 2007, Amor Fati, 2009), but continued to perform as together in other formats, often with double bass player Paul Rogers or guitarist Olivier Benoit. These shared experiences enriched Agnel and Lazro vocabularies and perfected their immediate interplay. Marguerite d'Or Pale captures the duo of Agnel and Lazro performing live at the Dom club in Moscow on June 2016. The title of the album, as well as the titles of the improvisations, draw their inspiration from the classic novel of Russian writer Mikhail Bulgakov 'TheMaster and Margarita'. These improvisations sound as consciously corresponding with the amused, mysterious and often subversive spirit of Bulgakov imaginative plots. The six improvisations enable both Agnel and Lazro to employ their highly personal approaches in ways that suggest haunting, kaleidoscopic atmospheres. Agnel sets the outlines for the ethereal, adventurous structures of these improvisations, wisely charging these pieces with restrained dramatic tension, while Lazro balances her playful juggling with forms with intensive flow and occasional eruptions of colorful ideas. Lazro, who focuses here on his tenor sax more than his baritone sax, demonstrates his impressive breathing techniques, whispers and speaks unintelligible words through the mouthpiece. Agnel adds extensive preparations to the piano strings, transforming the keyboard into an instrument that produces abstract, sensual and sometimes even beautiful-disturbing sounds."-Eyal Hareuveni
• Show Bio for Sophie Agnel
"If it's in Paris that Sophie Agnel was born in 1964, it is towards other sounding islands in the heart of a reinvented temporality that she dwells today, at the stern of a grand piano, an instrument that she turns into a real living & vibrating organism.
Classically trained, escaped from jazz (drawn away by the too strict treatment of harmony), Sophie Agnel boards the piano from every sonic angle this musical vessel can offer : keys, strings & board are simultaneously apprehended, in a mixed procedure (as we say of painting techniques) that would be understated if it was reduced to the cagian definition of the prepared piano. Considering the instrument - that she extends with several accessories, paper cups, balls or strings - as a poetic supplier of anamorphic textures, the musician takes it to be an equal match to the wider diversity of musical systems, whatever the craft they where conceived in (from physiological to electro-acoustic) ...
We would then no longer be surprised to notice her understandings with Michel Doneda and to find her to the side of the wet saxophone of Alessandro Bosetti, of the acoustified electric guitar of Olivier Benoit, of the voices of Catherine Jauniaux and Phil Minton, or the keyboard of Christine Wodraska...
The same seal of esthetic evidence marks all of her musical companionships, with this same taste, beyond the narrative, for the delicate sonic quests and blossoming of dimensions to which the auditor takes part through an active listening : in the heart of Jean Pallandre's phonographic worlds, of Jerôme Noetinger & Lionel Marchetti's small scale cinema, John Butcher or Axel Dörner's crimpy tissues, by the lovely machines of Erik M or Ikue Mori, the harmonico-stratospheric rustling of Stéphane Rives...
The originality of the research conducted by Sophie Agnel today leads her to develop, in solo or with significantly chosen companions, a most refined and highly poetic approach to sound that makes each of her concerts a moving construction filled with chiseled musical gestures, a soft and sumptuous irradiation."-Guillaume Tarche-Sophie Agnel Website (http://sophieagnel.free.fr/biographie.html)
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• Show Bio for Daunik Lazro
"The French saxophonist Daunik Lazro combines a tart, piercing tone with a quick mind and a flexible philosophy of music-making. His professional start was in bassist Saheb Sarbib's orchestra, a relationship he maintained through most of the '70s, which included three recordings. His first steps playing his own music involved a radical resizing of the cast on-stage, going from orchestra playing to solo saxophone concerts and duets. In the '80s, he busily played with many on the European improvised music scene, including bassist Jean Jacques Avenel, cellist Tristan Honsinger, violinist Carlos Zingaro, drummer Christian Rollet, and saxophonist Evan Parker, among others. In the mid-'80s, Lazro expanded his partnerships to include dance and theater projects, including work with the Company of the Chance.
He formed a particularly fine trio in 1987 with fellow saxophonist Michel Doneda and the brilliant ppercussionistLê Quan Ninh, playing at many of the major European festivals and also touring in Canada. Duets with the American free improviser Joe McPhee are a 1991 discographical highlight, during a period when Lazro also began playing viola. In 1993, he started his own orchestra as well as a quartet called Outlaws in Jazz with Jac Berrocal, Didier Levallet, and Dennis Charles. In 1995, he toured Europe in a triple-threat combination with both McPhee and Parker, and the former artist also joined him in a quartet the following year with the superb British contrabassist Paul Rogers. In the late '90s, he continued involvement with a series of orchestra projects, often as a guest soloist."-All Music, Eugene Chadbourne (http://www.allmusic.com/artist/daunik-lazro-mn0000956932/biography)
^ Hide Bio for Daunik Lazro
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