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Thomas Bonvalet takes the banjo into unusual territory with Jean-Luc Guionnet performing on the organ at the protestant temple of Bergerac, France, in a beautifully terrifying album recorded during the MONC cultural arts centre's festival of avant-garde culture in 2010.
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Catalog ID: BeCoq08
Squidco Product Code: 21733
Packaging: Cardboard Gatefold
Recorded live in Bergerac, France, October 2010.
Thomas Bonvalet-banjo, harmonica
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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 Untitled 40:19
sample the album:
In October 2010, in Bergerac, France, the MONC cultural arts centre created a major event of avant-garde and experimental theatre, dance, visual arts, flash mobs and music with the entire city as the venue, in a very participatory way with the audience and unprepared passers-by. Look here for more information. As part of this event, Jean-Luc Guionnet and Thomas Bonvalet gave an electroacoustic performance in the protestant temple of the city. Guionnet does not play his usual reeds, but he uses the church organ as the key instrument for the fabulous sonic landscape they create, with Bonvalet playing banjo, mikes, amplifiers, harmonica and tuning fork (why not?). The album contains one 40-minute long soundscape, with the organ offering a kind of endless color-shifting drone as a foundation for an infinity of things to happen, shifts in intensity, harsh counter-sounds, reinforcing feedback and a multitude of little sparkles, as if you're listening to a sonic kaleidoscope which keepsrevolving and surprisingly changing and offering new vistas and mind-boggling new sounds. The music is as attractive as it is frightening, petrifying the listener into immobility while these fascinating sounds keep being absorbed and when the fourty minutes are over, and the listener returns to his more rubbery state, he/she is a little, and maybe a lot, disappointed that the experience is over."-Stef, freejazzblog.org
European Improvisation and Experimental Forms
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