A 5-part work of improvisations on keyboards, voice, guzheng and flute from French improviser Jean-Marc Foussat and Bao Luo (Beijing Talking), a mysterious album of nocturnal sounds, grand expressions, furtive language, and rich textures and timbres, as Bao Luo provides a guiding voice in song and speach to their beguiling dialog; an exotic and expressive album.
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Label: Fou Records
Catalog ID: FR-CD 28
Squidco Product Code: 26029
Packaging: Cardboard Gatefold
Recorded at La Garenne-Columbes, France, in June and July, 2017, by Jean-Marc Foussat.
Bao Luo-voice, flute, gu zheng
Jean-Marc Foussat-synth, voice
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• Show Bio for Bao Luo
• 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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1. Les Lampes Brillent 9:43
2. Sur La Place 8:38
3. Il Etait Nuit 4:02
4. Trace Legere 6:15
5. Ces Yuex, Amoureux Des Tenebres 14:24
sample the album:
"... I must say that it's the Chinese music that touches me the most. She waits for me. What disturbs the Europeans especially is the orchestra made of noise, which emphasizes and interrupts the melody. That's really Chinese. Like the taste of firecrackers and detonations. You have to get used to it. Besides, curious thing, despite this tremendous noise, Chinese music is all that is more peaceful, not sleepy, not slow, but peaceful, free from the desire to wage war, to coerce, to order, free even of suffering, affectionate. As this melody is good, pleasant, sociable. She has nothing boastful, idiotic, or exalted, she is all human and good-natured, and childish and popular, joyous and "family reunion".-Henri Michaux, A Barbarian In China
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