#Bruno Chevillon

[chez-mimich]

LO SCORSO ANNO È ANDATA COSÌ…

Secondo il credo di François Truffaut, “Tre film al giorno, tre libri alla settimana, dei dischi di grande musica faranno la mia felicità fino alla fine dei miei giorni”, e come dargli torto? Tenendo conto che però i ritmi di Truffaut sono certamente inarrivabili, ne condivido di certo la filosofia. Quest’anno è andata così, però ho la pessima abitudine di non annotare i dischi che ascolto, ecco un buon proposito per il 2023.

ANNO 2022

"Tullio Pericoli: Frammenti", Palazzo Reale Milano, 02.01.22

“Il Mito di Venezia da Hayez alla Biennale” Castello di Novara, 09.01.22

“Tania Bruguera, la verità anche a scapito del mondo” Pac Milano, 15.01.22

“Ciò che si trova solo in Baudelaire” di Roberto Calasso, 12.01.22

“François Berthoud, Hyperillustrations”, Fondazione Sozzani, 22.01.22

“Annientare” di Miche Houellebecq, 23.01.22

"Ennio" di Giuseppe Tornatore, 02.02.22

“Grand Tour, sogno d’Italia da Venezia a Pompei”, Gallerie d’Italia Milano, 04.02.22

“Irreversible Entanglements”, Spazio Nova, Novara Jazz, 06.02.22

"Il capo perfetto" di Fernando Leo de Aranoa, 19.02.22

"Gabriele Boggio Ferraris Quartet" Taste of jazz, 24.02.22

"Chris Pitsiokos & Mulhouse Ensemble", Spazio Nova, 26.02.22

"Gabriele Boggio Ferraris Quartet". Opificio, 25.02.22

"A-Septic W/Vladimir Tarasov". Spazio Nova, 07.03.22

"Belfast" di Kenneth Branagh, 09.03.22

"Flee" di Jonas Poher Rasmussen, 13.03.22

“Chris Pitsiokos and Mulohouse Ensemble”, spazio Nova, 15.03.22

“Limes: la Russia cambia il mondo”, 20.03.22

Francesco Chiapperini: “On the Bare Rocks and Glaciers”, Taste of Jazz Opificio, 28.03.22

“Barry’s Trio”, spazio Nova, 03.04.22

“I Defunti” di Manu Larcenet e Daniel Casanave, 03.04.22

Gustave Flaubert: "Due racconti giovanili" a cura di Chiara Pasetti

Steve Mc.Queen: "Sunshine State", Pirelli Hangar Bicocca, 10.04.22

"Kris Ruhs: Heroes" Fondazione Sozzani, 16.04.22

"Steve Harries. Octopus" Fondazione Sozzani, 16.04.22

Anicka Yi: "Metaspore" Pirelli Hangar Bicocca, 19.04.22

"Bruce Weber wearing Kris Rhus Jewelry" Fondazione Sozzani, 16.04.22

"Tra due mondi" di Emmanuel Carrère, 16.04.22

"Concerto Passio 2022" Cappella Musicale del Duomo di Novara, 23.04.22

"Finale a sorpresa" di Mariano Cohn e Gastòn Duprat, 24.04.22

Elmgreen & Dragset: "Useless Bodies?", Fondazione Prada, 10.05.22

Haruki Murakami: "Gli assalti alle panetterie", 12.05.22

“Nostalgia” di Mario Martone, 29.05.22

“C’era una volta la DDR” di Anna Funder, 10.05.22

“Jazz Notes” di Giuseppe Cardoni, Opificio Novara Jazz 02.06.22

Daniele Cavallanti: “World of Music” di Daniele Cavallanrti Opificio Novara Jazz 02.06.22

“Stilnòva

Lisen Rylander Löve & Mirko Pedrotti + Biennoise, Nòva, 03.06.22

Lisen Rylander Löve “solo”, Mulino Vecchio di Bellinzago, 04.06.22

“Trio Korr”, Doneda, Grossi, Monico, Mezzomerico, 04.06.22

“Mynd”, Museo civico di Oleggio, 04.06.22

“We3” Barriera Albertina, 07.06.22

“Collocutor”: Church of Sound, Basilica di San Gaudenzio, 07.06.22

Tor Yttredal & Roberto Bonati, Museo Faraggiana, 08.06.22

Banda Filarmonica Oleggio e Roberto Mandarini, Broletto, 08.06.22

Shingai, Broletto, 09.06.22

Simone Alessandrini, “Storytellers” Mura rimane, 10.06.22

“L.U.M.E.” Lisbon Underground Musci Ensemble, Broletto, 10.06.22

Peter Evans “solo”, Basilica di San Gaudenzio 11.06.22

Alberto Braida “solo”, Casa Bossi, 11.06.22

Tom Arthurs & Giovanna Pessi, Giardino Palazzo Natta, 11.06.22

“ACRE” con Ermanno Baron e Peter Evans

Theon Cross, “Soundsystem Setup”, Broletto, 11.06.22

Kit Downes “solo”, Chiesa di San Giovanni Decollato, 12.06.22

“Erios Junior Orchestra”, Broletto, 12.06.22

Bruno Chevillon “solo”, Galleria Giannoni, 12.06.22

“Archipelagos” con Francesca Remigi, Parco dei Bambini, 12.06.22

“She’s Analog” Chiostro della Caninica, 12.06.22

“Orchestre Tout Puissant Marcel Duchamp”, Broletto, 12.06.22

“Artivismo” di Vincenzo Trione, 13.06.22

“Sotto gli occhi dell’Agnello” di Roberto Calasso, 20.06.22

“Album D’Annunzio” a cura di Annamaria Andreoli, 30.6.22

“Paris s’il vous plaît” di Eleonora Marangoni, 08.07.22

“Il costume femminile” di Georges Vigarello, 13.07.22

“Zero Gravity” di Woody Allen, 16.07.22

“La figlia unica” di Abraham B. Yehoshua, 19.07.22

“Non date a Cesare quel che è di Dio” di Claudio Balzaretti, 01.08.22

“Di notte, davanti alla parete con l’ombra degli alberi” di Peter Handke, 10.08.22

“Chris Ware” Centre Pompidou, 20.08.22

“Tatiana Trouvé, le grand atlas de la désorientation” Centre Pompidou 20.08.22

“Le reste est ombre: Pedro Costa, Rui Chafes, Paulo Nozolino” Centre Pompidou, 20.08.22

“Shirely Jaffesi, un américaine à Paris”. Centre Pompidou, 20.08.22

“Simon Hantaï: l’exposition du Centanaire”, Fondation Vuitton, 21.08.22

“La Couleurs en fugue”, Fondation Vuitton, 21.08.22

“Un seconde d’etérnité” Bourse de Commerce Paris, 21.08.22

“Allemagne/Anée 1920/Auguste Sander”, Centre Pompidou, 22.08.22

“Mirdidingkinghati Sally Gabory” Fondation Cartier Paris, 23.08.22

“Jean Painlevé: les pieds dans l’eau”, Jeu de Paume Paris, 23.08.22

“Les mondes Surrealiste de Elsa Schiaparelli” Musée des Arts Decoratifs Paris, 24.08.22

"Maison Dior", Parigi, 25.08.22

"Non date a Cesare quel che è di Dio" di Claudio Balzaretti, 31.08.22

"I miei giorni alla libreria Morisaki" di Satoshi Yagisawa, 05.09.22

"Il signore delle formiche" di Gianni Amelio, 11.09.22

"Un occidente prigioniero" di Milano Kundera, 20.09.22

"Chris Ware: la bande dessinée réinventée", 22.09.22

"Maigret" di Patrice Leconte, 23.09.22

"Remix the Cinema" Nu Arts and Community, 28.09.22

"Arsenal Ensmble: Nosferatu" Nu Arts and Community, 28.09.22

Gli instabili vaganti: "Lokdown Memory", Broletto Arts and Community, 29.09.22

"Elisabetta Consonni: Il secondo paradosso di Zenone", 29.09.22

"Sofia Donato, piano solo" Giardino Faraggiana Nu Arts and Community, 30.09.22

"Dove è più profondo"" Chiesa di Sant'Agostino, Nu Arts and Communite, 30.09.22

Ghenadie Rodani fisarmonica solo, canonica, Nu Arts and Community, 01.10.22

"As I was moving ahead occasionally I saw brief glimpses of beauty" di Jonas Mekas, Nu Arts and Community, 02.10.22

Joan Thiele, Nova, Arts and Community, 01.10.22

"Omar Soulyman" Nu Arts and community, 28.09.22

Ivan Ronda, organo. Festival di musica sacra. Basilica di San Gaudenzio, 09.10.22

"Unknown Unknows" Triennale di Milano, 15.10.22

"Il corridoio rosso" AA.VV., Catalogo mostra Triennale di Milano, 17.10.22

"Unknown Unknows" catalogo mostra Triennale di Milano, 20.10.22

"L'occasione fa il ladro" di Gioacchino Rossini, Teatro Coccia, 29.10.22

"La stranezza" di Roberto Andò, 30.10.22

"Il crogiolo" di Arthur Miller, regia di Filippo Dini, Teatro Strehler, 4.11.22

"Swinging Stravinsky" di Biagio Bagini, 7.11.22

"Ardenza" di Daniela de felice, 9.11.22

Anna Bassy, Nova, Nj Weekender Fall Editions, 12.11.22

Andrea Passenger, dj set, Nj Weekender Fall Editions, 12.11.22

Rosa Brunelo (e Tamara Osborne Collocato" Nòva Nj Weekender Fall Editions, 12.11.22

Dayakoda in solo, Nçva, Nj Weekender Fall Editions, 12.11.22

Jeff Parker solo, Nçva Nj Weekender Fall Editions, 13.11.22

Nicola Conte, Dj Set, Nçva, Nj Weekender Fall Editions, 13.11.22

Kahlil 'El Zara Quartet, Nova, Nj Weekender Fall Editions, 13.11.22

"Eros e Thanatos" Ilia Kim, piano. Conservatorio Cantelli-Amici della Musica, 14.11.22

"Tutta un'esistenza" Ivana Francisci, piano e Susanna Rigacci soprano, Conservatorio Cantelli-Amici della Musica, 22.11.22

"Lo stato delle cose" di Chiara Alessi", 23.11.22

“Recycling Beauty”, Fondazione Prada Milano, 03.12.22

Il fotografo Léon Herschritt, 09.12.22

“La Russia di Putin” di Anna Politkovskaja, 11.12.22

“Le otto montagne” di Felix Van Groeningen e Charlotte Vandermeersch, 26.12.22

“Bosch, un altro Rinascimento”, Palazzo Reale Milano, 30.12.22

“The Fabelmans” di Steven Spielberg, 31.12.22

[burlveneer-music]

Mário Costa Quartet - Chromosome

In the very beginning of 2023, it is time for Mário Costa’s sophomore take on his more personal and authorial project. The new album is titled Chromossome, named after Costa’s rigorous and custom-made writing, considering the DNA of each one of the musicians that he carefully handpicked for the project. Listening to Chromossome it is easy to be enticed by that acute detail of compositions thought as a means to explore each performer’s qualities, enhancing the genius of these captivating and staggering nine tracks. If we keep in mind that Cuong Vu’s trumpet can be found in Bill Frisell, Pat Metheny, David Bowie or Laurie Anderson’s projects, that Bruno Chevillon’s double bass is an habitué in bands lead by Louis Sclavis, Michel Portal or Daniel Humair, and that Benoît Delbecq’s piano has found its way into the music of such diverse protagonists as Evan Parker, Mark Turner or Mary Halvorson, we may get a pale idea of the musical gathering that is taking place here. But only a pale idea because the music that is born out of this four brilliant and very different personalities is greater than the sum of its parts. Each track that Mário Costa offers his accomplices feels like a red carpet for them to explore on, creating the ideal context for a miraculous musical response. And having said that, it is still so little a description. Only music can truly speak for the bewilderment and the creativity outburst that unfolds from Chromossome. Mário Costa - drums, electronics & composition Cuong Vu - trumpet Benoît Delbecq - piano, synths & samplers Bruno Chevillon - doublebass

[jazzplusplus]

Michel Portal "African Wind" @Jazz_in_Marciac 2021 

Michel Portal (bcl), Nils Wogram (tb), Bojan Z (p), Bruno Chevillon (b), Stéphane Galland (dr)

[michaelparque]

O.U.R.S @ Le Dix, Nantes 29 novembre 2019

Soundcheck épisode #2 - Pannonica Extramuros

Clément Janinet (v)

Hugues Mayot (b cl, ts)

Bruno Chevillon (b)

Emmanuel Scarpa (dms)

Copyright Michael Parque 2019 All rights reserved

[diyeipetea]

HDO 537: Ramón López: novedades discográficas [Podcast de jazz] Por Pachi Tapiz

HDO 537: Ramón López: novedades discográficas [Podcast de jazz] Por Pachi Tapiz

En HDO 537, realizamos un repaso a cuatro novedades discográficas del baterista y percusionista Ramón López que han aparecido publicadas en los últimos meses. En concreto, suenan tres temas de Mantle (Natsuki Tamura, Satoko Fujii, Ramón López. NotTwo, 2021); Ricercare (a nombre de Philippe Mouratouglou con Bruno Chevillon y Ramón López. Vision Fugitive, 2021); A Night In Vienna (Heinrich von…

[dustedmagazine]

Dusted Mid-Year Round-Up: Part 2, Dr. Pete Larson to  Young Slo-Be

James Brandon Lewis

The mid-year exchange continues with the second half of the alphabet and another round of Dusted writers reviewing other people’s favorite records.  Today’s selection runs the gamut from Afro-beat to hip hop to experimental music and includes some of this year’s best jazz records.  Check out part one if you missed it yesterday.  

Dr. Pete Larson and His Cytotoxic Nyatiti Band — Damballah (Dagoretti Records)

Damballah by Dr. Pete Larson and his Cytotoxic Nyatiti Band

Who Picked it? Mason Jones

Did we review it? No, but Jennifer Kelly said about his previous record, “It’s authentic not to some musicological conception of what nyatiti music should sound like, but to the instincts and proclivities of the musicians involved.”

Bryon Hayes’ take:

Judging from Jenny’s review, Dr. Pete Larson hasn’t really changed his modus operandi much since last year’s self-titled release. Well, he has appeared to have dropped vocalist Kat Steih and drummer Tom Hohman, who aren’t credited with an appearance on Damballah. Sonically, this album feels more polished than its predecessor. There’s a richness that was lacking before, a sense of clarity that Larson seems to have added here. He still hypnotizes with his nyatiti but doesn’t lose himself behind the other players. That sense of mesmerizing repetition of short passages on the resonant lute-like instrument is what sets the music of the Cytotoxic Nyatiti Band apart from other rock groups who play in the psychedelic vein. It’s easy to get lost in the intricate plucking patterns as the guitars and synths swirl about. The rhythms bounce cleverly against those created by the percussion, anchoring the songs to solid ground. Balancing the airy and the earthy, Dr. Peter Larson and His Cytotoxic Nyatiti Band create a cosmic commotion perfect for contemplation. 

 James Brandon Lewis / Red Lily Quintet — Jesup Wagon (TAO Forms)

Jesup Wagon by James Brandon Lewis / Red Lily Quintet

Who recommended it? Derek Taylor

Did we review it? Yes, Derek said, “’Fallen Flowers’ and ‘Seer’ contain sections of almost telepathic convergence, the former and the closing ‘Chemurgy’ culminating in Lewis’ spoken words inculcating the import of his subject.” 

Tim Clarke’s take:

Tenor saxophonist and composer James Brandon Lewis demonstrates his control of the instrument in the opening moments of Jesup Wagon’s title track. Before his Red Lily Quintet bandmates join the fray, he alternates between hushed ululations and full-blooded honks, inviting the listener to lean in conspiratorially. Once the rest of the band fire up, cornet player Kirk Knuffke, bassist William Parker, cellist Chris Hoffman and drummer Chad Taylor lock into a loose, muscular shuffle. Their collective chemistry is immediately evident, and each player has the opportunity to shine across this diverse set’s 50-minute runtime. I’m particularly drawn to the rapid-fire rhythmic runs on “Lowlands of Sorrow,” the gorgeous cello on “Arachis,” and the spacious, mbira-laced “Seer.” There’s something about the mournful horn melody of the final piece, “Chemurgy,” that sends me back to first hearing Ornette Coleman’s “Lonely Woman” — and, just like that, I’m excited about the prospect of exploring jazz again, for the first time in a long time. Great pick, Derek.

 Roscoe Mitchell & Mike Reed — The Ritual And The Dance (Astral Spirits) 

the Ritual and the Dance by Roscoe Mitchell & Mike Reed

Who recommended it? Derek Taylor

Did we review it? Yes, Derek wrote, “Roscoe Mitchell remains an improvisational force to be reckoned with.”

Andrew Forell’s take:

For 17-plus minutes, Roscoe Mitchell solos on his soprano with barely a pause, the rush of notes powered by circular breathing, as drummer Mike Reed’s controlled clatter counterpoints Mitchell’s exploration of his instrument’s range and tonal qualities in what sounds like a summation of his long career at the outer edge of jazz. It‘s an extraordinary beginning to this performance, recorded live in 2015. On first listen it sounds chaotic, but shapes emerge in Mitchell’s sound, and Reed’s combination of density and silence complements, punctuates and supports in equal measure. After an incisive solo workout from Reed combining clanging metal and rolling toms, Mitchell swaps to tenor and the pace changes. Longer, slower notes, a rougher, reed heavy tone and a lighter touch from Reed. Having not closely followed Mitchell’s work since his days in The Art Ensemble Of Chicago, this performance was a revelation and will have me searching back through his catalog.     

The Notwist — Vertigo Days (Morr Music)

Vertigo Days by The Notwist

Who recommended it? Tim Clarke

Did we review it?  Yes, Tim said, “The Notwist really know how to structure a front-to-back listening experience, and this is emphatically a work of art best appreciated as a whole.”

Arthur Krumins’ take: 

In his review of Vertigo Days, Tim Clarke highlights the “multiple layers of drifting, shifting instrumentation.” It is an album that seems unbound by adherence to a set instrument lineup, and it moves quickly between moods both frenetic and contemplative. However, due to a careful mixing and an unforced approach to genre expectations, it is a surprising and varied listen that bears repeated scrutiny. The touchstones of the sound are at times the motorik beat of krautrock, at others the ethereal indie pop of their melodies and the quality of their singing. It feels like the perfect quirky coffee shop album, just out there enough to create a vibe, but tactful enough to take you along for the ride.

  Dorothea Paas — Anything Can’t Happen (Telephone Explosion)

Anything Can't Happen by Dorothea Paas

Who picked it? Arthur Krumins.

Did we review it? No. 

Eric McDowell’s take:

In one sense, it’s fair to say that Dorothea Paas’s debut album opens with a false start: A single note sounded and then retreated from, fingers sliding up and down the fretboard with the diffidence of a throat clearing. Yet what gesture could more perfectly introduce an album so marked by uncertainty, vulnerability, and naked self-assessment? 

If Anything Can’t Happen is an open wound, it’s a wound Paas willingly opens: “I’m not lonely now / Doing all the things I want to and working on my mind / Sorting through old thoughts.” That doesn’t make the pain any less real — though it does make it more complex. “It’s so hard to trust again / When you can’t even trust yourself,” Paas sings on the utterly compelling title track, her gaze aiming both inward and outward. Elsewhere she admits: “I long for a body closer to mine / But I don’t want to seek, I just want to find.” Instrumentally, Paas and her bandmates manage to temper an inclination toward static brooding with propulsive forward motion, a balance that suits the difficult truth — or better yet, difficult truce — the album arrives at in the climactic “Frozen Window”: “How can I open to love again, like a plant searches for light through a frozen window? / Can I be loved, or is it all about control? / I will never know until I start again.” In the spirit of starting again, Anything Can’t Happen ends with a doubling down on the opening prelude, reprising and extending it — no false start to be found. 

 Dominic Pifarely Quartet — Nocturnes (Clean Feed) 

Nocturnes by Dominique Pifarély Quartet

Who recommended it? Jason Bivins

Did we review it? No 

Derek Taylor’s take: 

Pifarely and I actually go way back in my listening life, specifically to Acoustic Quartet, an album the French violinist made for ECM as a co-leader with countryman clarinetist Louis Sclavis in 1994. Thirty-something at the time, his vehicle for that venture was an improvising chamber ensemble merging classical instrumentation and extended techniques with jazz and folk derived influences. The results, playful and often exhilaratingly acrobatic, benefited greatly from austere ECM house acoustics. Nearly three decades distant, Nocturnes is a different creature, delicate and darker hued in plumage and less enamored of melody, harmony and rhythm, at least along conventional measures. Drones and other textures are regular elements of the interplay between the leader’s strings, the piano of Antonin Rayon and the sparse braiding and shadings of bassist Bruno Chevillon and drummer Francois Merville. Duos also determine direction, particular on the series of titular miniatures that are as much about space as they are centered in sound. It’s delightful to get reacquainted after so much time apart.  

The Reds Pinks & Purples — Uncommon Weather (Slumberland/Tough Love)

Uncommon Weather by The Reds, Pinks & Purples

Who picked it? Jennifer Kelly

Did we review it? Yes, Jennifer said, “Uncommon Weather is undoubtedly the best of the Reds, Pinks & Purples discs so far, an album that is damned near perfect without seeming to try very hard.”   

Bill Meyer’s take:

Sometimes a record hits you where you live. Glenn Donaldson’s too polite to do you any harm, but he not only knows where you live, he knows your twin homes away from home, the record store and the club where you measure your night by how many bands’ sets separate you from last call. He knows the gushing merch-table mooches and the old crushes that casually bring the regulars down, and he also knows how to make records just like the ones that these folks have been listening to since they started making dubious choices. Uncommon Weather sounds like a deeply skilled recreation of early, less chops-heavy Bats, and if that description makes sense to you, so will this record.

 claire rousay — A Softer Focus (American Dreams Records)

a softer focus by Claire Rousay

Who picked it? Bryon Hayes  

Did we review it? Yes, Bryon Hayes wrote, “These field recordings of the mundane, when coupled with the radiance of the musical elements, are magical.”  

Ian Mathers’ take:  

In a weird way (because they are very different works from very different artists), A Softer Focus reminds me a bit of Robert Ashley’s Private Parts (The Album). Both feel like the products of deep focus and concentration but wear their rigor loosely, and both feel like beautifully futile attempts to capture or convey the rich messiness of human experience. But although there is a musicality to Private Parts, Ashley is almost obsessed by language and language acts, and even though the human voice is more present than ever in rousay’s work (not just sampled or field recorded, but outright albeit technologically smeared singing on a few tracks) it feels like it reaches to a place in that experience beyond words. The first few times I played it I had moments where I was no longer sure exactly what part of what I was hearing were coming from my speakers versus from outside my apartment, and as beautiful as the more conventional ambient/drone aspects of A Softer Focus are (including the cello and violin heard throughout), it’s that kind of intoxicating disorientation, of almost feeling like I’m experiencing someone else’s memory, that’s going to stay with me the longest. 

 M. Sage — The Wind Of Things (Geographic North)

The Wind of Things by M. Sage

Who recommended it? Bryon Hayes

Did we review it? No

Bill Meyer’s take:

Matthew Sage’s hybrid music gets labeled as ambient by default. Sure, it’s gentle enough to be ignorable, but Sage’s combination of ruminative acoustic playing (mostly piano and guitar, with occasional seasoning from reeds, violin, banjo, and percussion) and memory-laden field recordings feels so personal that it’s hard to believe he’d really be satisfied with anyone treating this stuff as background music. But that combination of the placid and the personal may also be The Wind of Things’ undoing since it’s a bit too airy and undemonstrative to make an impression.

 Skee Mask — Pool (Ilian Tape)

ITLP09 Skee Mask - Pool by Skee Mask

Who picked it? Patrick Masterson

Did we review it? No 

Robert Ham’s take:

Pool is an appropriate title for the new album by Munich electronic artist Bryan Müller. The record is huge and deep, with its 18 tracks clocking in at around 103 minutes. And Müller has pointedly only released the digital version of Pool through Bandcamp, adding it a little hurdle to fans who just want to pick and choose from its wares for their playlists. Dipping one’s toes in is an option, but the only way to truly appreciate the full effect is to dive on in. 

Though Müller filled Pool up with around five years’ worth of material, the album plays like the result of great deliberation. It flows with the thoughtfulness and intention of an adventurous DJ set, with furious breakbeat explosions like “Breathing Method” making way for the languorous ambient track “Ozone” and the unbound “Rio Dub.” Then, without warning, the drum ‘n’ bass breaks kick in for a while. 

The full album delights in those quick shifts into new genres or wild seemingly disparate sonic connections happening within the span of a single song. But again, these decisions don’t sound like they were made carelessly. Müller took some time with this one to get the track list just right. But if there is one thread that runs along the entirety of Pool, it is the air of joy that cuts through even its downcast moments. The splashing playfulness is refreshing and inviting.

 Speaker Music — Soul-Making Theodicy (Planet Mu)

Soul-Making Theodicy by Speaker Music

Who picked it? Mason Jones

Did we review it? No 

Robert Ham’s take:

The process by which DeForrest Brown Jr., the artist known as Speaker Music, created his latest EP sounds almost as exciting as the finished music. If I understand it correctly — and I’m not entirely sure that I do — he created rhythm tracks using haptic synths, a Push sequencer, and a MIDI keyboard, that he sent through Ableton and performed essentially a live set of abstract beats informed by free jazz, trap and marching band. Or as Brown calls them “stereophonic paintings.” 

Whatever term you care to apply to these tracks and however they were made, the experience of listening to them is a dizzying one. A cosmic high that takes over the synapses and vibrates them until your vision becomes blurry and your word starts to smear together like fog on a windshield. Listening to this EP on headphones makes the experience more vertiginous if, like I did, you try to unearth the details and sounds buried within the centerpiece track “Rhythmatic Music For Speakers,” a 33-minute symphony of footwork stuttering and polyrhythms. Is that the sound of an audience responding to this sensory overload that I hear underneath it all? Or is that wishful imaginings coming from a mind hungry for the live music experience? 

 The Telescopes — Songs of Love And Revolution (Tapete) 

Songs Of Love And Revolution by the telescopes

Who recommended it? Robert Ham

Did we review it? No. 

Andrew Forell’s take:

Songs Of Love And Revolution glides along on murky subterranean rhythms that evoke Mo Tucker’s heartbeat toms backed with thick bowel-shaking bass lines. Somewhere in the murk Stephen Lawrie’s murmured vocals barely surface as he wrings squalls of noise from his guitar to create a dissonant turmoil to contrast the familiarity of what lies beneath. The effect is at once hypnotic and joltingly thrilling, similar to hearing Jesus And Mary Chain for the first time but played a at pace closer to Bedhead. A kind of slowcore shoegaze, its mystery enhanced by what seems deliberately monochrome production that forces and rewards close attention. When they really let go on “We See Magic And We Are Neutral, Unnecessary” it hits like The Birthday Party wrestling The Stooges. So yeah, pretty damn good.

 Leon Vynehall — Rare, Forever (Ninja Tune)

Rare, Forever by LEON VYNEHALL

Who recommended it? Patrick Masterson

Did we review it? No. 

Jason Bivins’ take: 

I was amused to see Leon Vynehall’s album tucked into the expansive “Unknown genre” non-category. This is, as is often the case with these mid-year exchanges, a bit far afield from the kind of music I usually spin. Much of it is, I suppose, rooted in house music. Throughout these tracks, there are indeed some slinky beats that’ll get you nodding your head while prepping the dinner or while studying in earnest. There’s plenty to appreciate on the level of grooves and patterns, but he closer you listen, the more subversive, sneaky details you notice. The opening “Ecce! Ego!” isn’t quite as brash as the title would suggest, featuring some playfully morphed voices, old school synth patches and snatches of instrumentalism. But after just a couple minutes, vast cosmic sounds start careening around your brainpan while a metal bar drops somewhere in the audial space. Did that just happen? you wonder as the groove continues. Moments of curiosity and even discomfort are plopped down, sometimes as transitions (like the closing vocal announcement on “In>Pin” — “like a moth” — that introduces the echo-canyon of “Mothra”) but usually as head-scrambling curveballs. Startled voices or flutes or subterranean sax bubble up from beneath deep house thrum, then are gone in ways that are arresting and deceptive. I still don’t know what to make of the lounge-y closing to “Snakeskin – Has-Been” or the unexpected drone monolith of “Farewell! Magnus Gabbro.” In its way, Vynehall’s music is almost like what you’d get if Graham Lambkin or Jason Lescalleet made a house record. Pretty rich stuff.

 Michael Winter — single track (Another Timbre)

single track by Michael Winter

Who recommended it? Eric McDowell 

Did we review it? Not yet! 

Mason Jones’ take: 

Over its 45 minutes, Michael Winter’s 2015 composition slowly accelerates and accumulates, starting from an isolated violin playing slightly arrhythmic, single fast strokes. The playing, centered around a single root note, seems almost random, but flashes of melodic clusters make it clear they're not. After nine minutes other players have joined in and there's a developing drone, as things sort of devolve, with atonal combinations building. By the one-third mark everything has slowed down significantly, and the players are blending together, with fewer melodies standing out. Instead, it's almost more drone than not; and at a half hour in, most of the strings have been reduced to slowly changing tones. As we near the end we’re hearing beautiful layers of string drones, descending into the final few minutes of nearly static notes. It's an intriguing and oddly listenable composition given its atonality. The early moments bring to mind Michael Nyman, and the later movements summon thoughts of Tony Conrad and La Monte Young, but it's clearly different from any of them, and more than the sum of those parts.

 Young Slo-Be — Red Mamba (KoldGreedy Entertainment / Thizzler On The Roof)

Who picked it? Ray Garraty 

Did we review it? No. 

Ian Mathers’ take: 

The 12 tracks on Red Mamba fly by in a little over 27 minutes (not a one breaks the three-minute mark) but the result doesn’t feel slight so much as pared down to a sharpness you might cut yourself on. Stockon’s Young Slo-Be only seems to have one flow (or maybe it’d be more accurate to say he only seems interested in one) but he knows how to wield it with precision and force, and if the subject matter hews closely to the accepted canon of gangbanger concerns, Slo-Be delivers it all with vivid language and the studied, superior disdain of an older brother explaining the world to you and busting your chops at the same time. The tracks on Red Mamba all come from different producers, but Slo-Be consistently chooses spectral, eerie, foreboding backgrounds for these songs, even when adding piano and church bells (on “Asshole”), dog barks (“21 Thoughts”) or even Godfather-esque strings (the closing “Rico Swavo”). What’s the old line about the strength of street knowledge? These are different streets, and different knowledge.

[uneminuteparseconde]

Des concerts à Paris et alentour

Novembre 28. Anne-James Chaton – Auditorium|Cité de l'architecture (gratuit) 28. Boubakar Cissokho – Chair de poule (gratuit) 28. Adult. + KatzKab – Petit Bain 28. Borja Fames + Eloïse Decazes + Èlg – Instants chavirés (Montreuil) 28. Ensemble IRE joue "Nexus Entropy" d'Ulrich Krieger + Marc Baron + Lionel Marchetti (fest. Bruits blancs) – Anis gras (Arcueil) 29. SK/LR – Chair de poule (gratuit) 29. Émilie Pitoiset, Shantidas Riedacker & Matthieu Canaguier – Petite salle|Centre Pompidou (gratuit) 29. Esben & The Witch + Ingrina – Point FMR 29. Jessica Moss + Tomoe – Gambetta Club 29. Confusional Quartet + René Couteau + Tumulus + Samon Takahashi + Bernard Filipetti vs Ravi Shardja – Le Cirque électrique 29. Maud Geffray (dj) + Fishbach (dj) + Brigitte Fontaine + Musique chienne – Trabendo 29. CHDH + Mariachi + Lårs Akerlund & Sten Backman (fest. Bruits blancs) – Le Cube (Issy-lès-Moulineaux) 29. Rakta + Marée noire + Trashley – Instants chavirés (Montreuil) 29. Interpol + Nilüfer Yanya – Salle Pleyel ||COMPLET|| 30. Mick Harvey + Brisa Roché – Petit Bain 30. Artus + Fleuves noirs + Hex – Le cirque électrique 30. Spit Mask + Poison Point + Lunacy + Some Ember + Offermose + Kaukolampi – La Station 30. Deeat Palace + Tamara Goukassova + Tryphème – L'International 30. Machine sauvage + Léon Denise (fest. Vision'R & Cookie Demoparty) – Folie numérique N5|Parc de La Villette 30. Trevor Jackson + Violent quand on aime – La Java 30. John Chatler + Samuel Sighicelli + Shapednoise (fest. Bruits blancs) – Anis gras (Arcueil)

Décembre 01. Dominique Petitgand (diff.) – Théâtre de Gennevilliers (gratuit) 01. Mamiedaragon + Jogging – Le Zorba (gratuit) 01. NAO (fest. Vision'R & Cookie Demoparty) – Folie numérique N5|Parc de La Villette 01. Nadia Ratsimandresy + Bruno Chevillon + Uriel Barthélémi + Marc Sens + Annabelle Playe (fest. Bruits blancs) – Anis gras (Arcueil) 01. Deux boules vanille + Jeff Mills + Molécule + Renart + Nicolas Horvath joue P. Glass, T. Riley et J. Adams + Ensemble Links : "Music for 18 Musicians" de S. Reich (fest. Marathon!) – La Gaîté lyrique ||COMPLET|| 02. Beak> + Le Comte – Café de la danse ||COMPLET|| 03. Pardans – Olympic café 03. Tanz Mein Herz + Dragon du Poitou + Mega Bass – La Java 03. Idles + John – Bataclan ||COMPLET|| 05. Dick Annegard – BNF (gratuit) 05. Julia Holter – Petit Bain 05. Sudden Infant + Massicot – Centre culturel suisse 06. Harry Merry – Chair de poule (gratuit) 06. La Tène avec Jacques Puech, Louis Jacques, Guilhem Lacroux & Jérémie Sauvage – Centre culturel suisse 06. The KVB + M!R!M – Badaboum 07. Kink Gong – Médiathèque musicale (gratuit) 07. Antoine Chessex + Nina Garcia + Francisco Meirino – Centre culturel suisse 07. Heimat + Bordigaga + Bruno Billaudeau, Xavier Mussat & Black Sifichi (Semaine du bizarre) – Instants chavirés (Montreuil) 07. Nosfell – Espace 1789 (Saint-Ouen) 07. Aubadja + chdh (fest. Vision'R) – Le Générateur (Gentilly) 07. Shxcxchcxsh + W.LV.S + Wlderz – Rex Club 08. The Horrorist + Federico Amoroso – L'Officine 08. Jean Benoît Dunckel + NSDOS + CloZee + Kiddy Smile (Inasound fest.) – Palais Brongniart 08. Blawan + The Advent + AWB + Yogg & Pharaoh + Netsh – Concrete 08. Tim Tama + Gijensu + Makornik + K – Glazart 08. Père Ubu (Semaine du bizarre) – Théâtre Berthelot (Montreuil) ||COMPLET|| 09. Panteros666 + Matt Black + Erol Alkan + Kiasmos (Inasound fest.) – Palais Brongniart 09. The Fleshtones – Supersonic 09/10. Moriarty – Cité de la musique|Philharmonie 11. Joanna + October Lieber – Badaboum 12. Nova Materia – La Maroquinerie 12. Le Réveil des tropiques + France + Helio Polar Thing – Petit Bain 12. Mange Ferraille + Boolvar + So-lo-lo – Le Cirque électrique 13. Qonicho B + Johann Mazé – Le Zorba (gratuit) 13. The Callas + Selofan + Hørd (fest. Magnétique Nord) – La Station 13. Villejuif Undergound + Bryan's Magic Tears + Free Love – La Bellevilloise 14. New Model Army – Trabendo 14. Carol Robinson, Bertrand Gauguet, Julia Eckhardt & Yannick Guedon : "Sequel to Occam Ocean" (2018) d’Éliane Radigue – Palais de Tokyo 14. Sida + Broken English Club + Toresch + Moderna + Wr2old + Shazzula (fest. Magnétique Nord) – La Station 14. Hangman's Chair + Jessica93 + Revok – Les Cuizines (Chelles) 14. Succhiamo + Air LQD + Rraouhhh + Christophe Clébard – Le Chinois (Montreuil) 14. Rebekah + Paula Temple + Anetha + Hannah b2b Charlene – Concrete 14. Mr Oizo – NF-34 15. Gaspar Claus – Cité de la musique|Philharmonie 15. Ata + Oliver Hafenbauer + Chinaski + Last Love Pilgrim + Kilian Paterson + Slyngshot + DJ Neewt (fest. Magnétique Nord) – La Station 15. Job Sifre + Fatma Pneumonia + X1000 + Spunoff (fest. Magnétique Nord) – La Station 15. AZF + Clouds + Aleksi Perälä + Barker – Rex Club 15. Derrick May + Helena Hauff + I Hate Models + Rrose + Noncompliant + Voiron + Galaxian + Sentimental Rave + Sama' + Amarou + Crystallmess – Concrete 15. Mount Kimbie + Marcel Dettman + Dixon + Rødhåd + Hot Chip + Rone + Roman Flügel + Lorenzo Senni + Lena Willikens + Epsilove... – Paris Event Center 16. Tomoko Sauvage – Lafayette Anticipations 18. Drab Majesty – Point FMR 18. Vox Low + Zombie Zombie (fest. Les Aventuriers) – Espace Gérard-Philipe (Fontenay-sous-Bois) 19. Belmont Witch + Zad Kokar + Petra Pied de biche – Instants chavirés (Montreuil) 21. Peter Van Hoesen + Clo d'or + Neel – Rex Club 21. Cleric + Jacidorex + Matrixxman + Parfait + SNTS – tba 22. Yan Wagner + Il est vilaine + Magnüm + Mayerling – La Maroquinerie 22. 2manydjs – NF-34

2019

Janvier 02. Les Hôpitaux + CIA débutante – Supersonic (gratuit) 09. Ayarcana b2b Ossian + Endlec + 1ndica – Rex Club 10. Jemek Jemowit + Infecticide + Cachette à branlette – L'International 11. The Choolers Division – La Station 12. Art & Technique + A_R_C_C + Bleno Die Wurstbrücke – Le Cirque électrique 18. Francis Dhomont (fest. Akousma) – MPAA Saint-Germain (gratuit sur résa) 19. Armando Balice + Ingrid Drese + Jérôme Noetinger + Loïse Bulot + Robert Hampson (fest. Akousma) – MPAA Saint-Germain (gratuit sur résa) 20.  Catherine Bir + Raphaël Mouterde + Francisco Meirino + Roland Cahen + Yoko Higashi & Lionel Marchetti (fest. Akousma) – MPAA Saint-Germain (gratuit sur résa) 22. Emmanuelle Parrenin & Dominique Regref – La Ferme du Buisson (Noisiel) 24. Rouge Gorge – Le Chair de poule 25. La Secte du futur + Shiny Darkly – Supersonic 25. Léonie Pernet – Gaîté lyrique 26. Chloé – Elysée-Montmartre 29. Dominique a – Salle Pleyel 31. Deena Abdelwahed – Gaîté lyrique

Février 02. Tempers – Supersonic (gratuit) 02. The Residents – Gaîté lyrique 02. Shabazz Palaces + Dälek (fest. Sons d'hiver) – théâtre de la Cité internationale 06. Brendan Perry – Petit Bain 07. VNV Nation – Le Trabendo 09. The Ex : "Ethiopian Night" (fest. Sons d'hiver) – salle Jacques-Brel (Fontenay-sous-Bois) 10. Therapy? – La Maroquinerie 11. Massive Attack feat. Liz Fraser jouent « Mezzanine » – Zénith 16. Anthony Braxton + Dave Douglas & Bill Laswell (fest. Sons d'hiver) – théâtre Jacques-Carat (Cachan) 21. Mlada Fronta + Absolute Valentine + Neoslave – Petit Bain 21. Collection d'Arnell Andrea + Katzkab – Bus Palladium 22. Nils Frahm – Le Trianon ||COMPLET|| 23. Nils Frahm – Le Trianon

Mars 02. Boy Harsher + Kontravoid – Badaboum 02. Lydia Lunch & Marc Hurtado jouent Alan Vega et Suicide – Silencio 07. Scratch Massive – Gaîté lyrique 10. James Chance & Die Contortions – Supersonic 12. Yann Tiersen – Salle Pleyel 20. Oomph! – La Machine 22. Delia Derbyshire (diff.) + Lettera 22 + Evil Moisture + Caterina Barbieri + Drew McDowall : "Coil's Time Machines" (fest. Présences électronique) – Studio 104|Maison de la Radio 22. The Young Gods – La Maroquinerie 23. Pierre Boeswillwald (diff.) + Max Eilbacher + Andrea Belfi + Sarah Davachi + William Basinski & Lawrence English (fest. Présences électronique) – Studio 104|Maison de la Radio 24. Warren Burt (diff.) + Mats Erlandsson + Okkyung Lee + Low Jack + BJ Nielsen (fest. Présences électronique) – Studio 104|Maison de la Radio 29. Perturbator – Le Trianon 30. Marc Almond – Le Trianon

Avril 05. Beirut – Le Grand Rex 08. The Specials – La Cigale 10. Daughters – Point FMR 14. Arnaud Rebotini joue la BO de "120 Battements par minute" – Cité de la musique|Philharmonie 17. Teenage Fan Club – Trabendo 17. Soap&Skin – Le Trianon 17. Apparat – Gaîté lyrique 21. The Parrots + Johnny Mafia + Halo Maud + Grand Blanc + Marietta + Robbing Millions + Oktober Lieber (fest. MOFO) – Mains d'oeuvre (Saint-Ouen) 22. Fontaines D.C. – Point FMR 22. Faire + Buvette + Oko Ebombo + Black Devil Disco Club + Fujiya & Miyagi + Rendez-Vous (fest. MOFO) – Mains d'oeuvre (Saint-Ouen) 23. The Luyas + Barbagallo + Human Teorema + Arnaud Rebotini + Aquaserge + Il est vilaine + Onze Onze (fest. MOFO) – Mains d'oeuvre (Saint-Ouen) 27. She Past Away – La Machine 27. Chloé : Lumières noires – Le 104

Mai 07. dEUS – La Cigale 10/11. Dead Can Dance – Grand Rex ||COMPLET|| 11. Christina Vantzou + Eiko Ishibashi + Jan Jelinek + NPVR (Nik Void & Peter Rehberg) – Le 104 12. Massimo Toniutti + François Bayle – Le 104 17. Philip Glass : Études pour piano – Salle Pierre-Boulez|Philharmonie 18. Bruce Brubaker & Max Cooper : Glasstronica – Cité de la musique|Philharmonie 28. Alice in Chains + Black Rebel Motorcycle Club – Olympia 31. François Bonnet + Knud Viktor + Jim O'Rourke + Florian Hecker (fest. Akousma) – Studio 104|Maison de la Radio

Juin 01. Eryck Abecassis & Reinhold Friedl + Hilde Marie Holsen + Anthony Pateras + Lucy Railton (fest. Akousma) – Studio 104|Maison de la Radio 02. Bernard Parmegiani + Jean Schwarz (fest. Akousma) – Studio 104|Maison de la Radio 19. Stephen Malkmus & The Jicks – La Gaîté lyrique 26. Magma – Salle Pierre-Boulez|Philharmonie

Juillet 11. Masada + Sylvie Courvoisier & Mark Feldman + Mary Halvorson quartet + Craig Taborn + Trigger + Erik Friedlander & Mike Nicolas + John Medeski trio + Nova quartet + Gyan Riley & Julian Lage + Brian Marsella trio + Ikue Mori + Kris Davis + Peter Evans + Asmodeus : John Zorn's Marathon Bagatelles – Salle Pleyel

Août 23>25. The Cure (fest. Rock en scène) – parc de Saint-Cloud

Septembre 13. Rammstein – La Défense Arena (Nanterre) ||COMPLET||

en gras : les derniers ajouts / in bold: the last news

[whquotes]

1969 - Gunter Hampel Group + Jeanne Lee 1970 - Charlie Haden - Liberation Music Orchestra 1971 - Frank Wright Quartet - Uhuru Na Umoja 1972 - Archie Shepp - Attica Blues 1973 - Willem Breuker – Baal Brecht Breuker 1974 - Dollar Brand / Johny Dyani - Good News From Africa 1975 - Charles Mingus - Changes One & Two 1976 - Evan Parker-Paul Lytton Duo - Ra 1+2 1977 - André Jaume – Le Collier De La Colombe 1978 - Harry Miller – In Conference 1979 - The Carla Bley Band – Musique Mecanique 1980 - Rova - This, This, This, This 1981 - Max Roach / Anthony Braxton - One In Two, Two In One 1982 - Keith Tippett & Louis Moholo – No Gossip 1983 - Günter Sommer – Hörmusik Zwei 1984 - Jack DeJohnette's Special Edition – Album Album 1985 - Lee Konitz Terzet – Dovetail 1986 - Lol Coxhill – Café De La Place 1987 - Steve Beresford / Han Bennink - Directly To Pyjamas 1988 - Gil Evans / Steve Lacy - Paris Blues 1989 - Yves Robert, Bruno Chevillon, Aaron Scott - Des Satellites Avec Des Traces De Plumes 1990 - Sidsel Endresen, Bugge Wesseltoft – Out Here. In There 1991 - Maarten Altena – Cities & Streets 1992 - John Lindberg / Albert Mangelsdorff / Eric Watson – Dodging Bullets 1993 - Claude Tchamitchian – Jeu d'enfants 1994 - Jon Rose – Violin Music For Supermarkets 1995 - Italian Instabile Orchestra – Skies Of Europe 1996 - Gianluigi Trovesi Octet – Les Hommes Armés 1997 - Uri Caine / Gustav Mahler – Urlicht / Primal Light 1998 - Robert Marcel Lepage – Les Clarinettes Ont-Elles Un Escalier De Secours? 1999 - Claude Tchamitchian Grand Lousadzak – Bassma Suite 2000 - Maria Schneider Orchestra – Allégresse 2001 - Dave Bargeron, Michel Godard – Tuba Tuba 2002 - Supersilent - 1-3 2003 - Various – Money Will Ruin Everything (compilation label Rune Gramofon) 2004 - Eugene Chadbourne, Ron de Jong, Darren Williams - The Unauthorized Biography Of Richard Monsour 2005 - Various – Le Chronatoscaphe (compilation du label Nato) 2006 - Hollis Taylor And Jon Rose – Infidel 2007 - La Marmite Infernale – Envoyez La Suite 2008 - Medeski Martin & Wood – Let's Go Everywhere 2009 - Orchestre National De Jazz / Daniel Yvinec – Around Robert Wyatt 2010 - Kamilya Jubran, Werner Hasler – Wanabni 2011 - Donkey Monkey – Hanakana 2012 - The National Jazz Trio Of Scotland – The National Jazz Trio Of Scotland's Christmas Album 2013 - The Heliocentrics – 13 Degrees Of Reality 2014 - Angles 9 – Injuries 2015 - Eve Risser – Des Pas Sur La Neige 2016 - Martín Escalante – Destroyed on Every Level 2017 - Zu – Carboniferous 2018 - No Tongues – Les Voies Du Monde 2019 - Matana Roberts – Coin Coin Chapter Four : Memphis 2020 - Kim Giani, Quentin Rollet - Mettent Une Ambiance De Malade! 2021 - Don Cherry's New Researches Featuring Naná Vasconcelos – Organic Music Theatre Festival De Jazz De Chateauvallon 1972 2022 - Jean-Jacques Birgé, Lionel Martin - Fictions

[eclecticharmonytimemachine]

Guy Le Querrec - Europa Jazz Festival. 1989. Bruno Chevillon.

[fuitedejazz]

Dominique Pifarely qtet * Nocturnes | CleanFeed rec 

Dominique Pifarély, violin :: Antonin Rayon, piano :: Bruno Chevillon, double bass :: François Merville, drums 

[chez-mimich]

NOVARA JAZZ 2022: KIT DOWNES, BRUNO CHEVILLON

(Segue) Si chiude questa sera con una cannonata di concerto quello dell’ “ Orchestre Tout Puissant Marcel Duchamp” (OTPMD)

La bella voce di Liz Moscarola, apre il concerto con una ballata elettrica, ma niente paura da un ensemble così bisogna aspettarsi di tutto e sul palco di Novara Jazz, Bertholet e compagni mettono in scena principalmente l’abbattimento di tutti i confini e di tutte le barriere che suddividono i generi musicali. Se fossimo a teatro potremmo paragonarli alla Fura des Baus, per potenza scenica, alla cui base c’è una costante provocazione sonora, timbrica, vocale, una musica infarcita di citazioni musicali, non sempre individuabili ad un primo ascolto. Impossibile stare fermi, lo scopo delle OTPMD è quello di non arrendersi alla fatalità del mondo che si tratti della pandemia o della guerra. Testi dissacranti, come era ovvio, aspettarsi da un ensemble che si richiama orgogliosamente al padre del Dadaismo. C’è posto anche per ballate dolci e ritmiche, per un po’ di funk inacidito e di po’ punk ben conservato. Ed era proprio così che doveva concludersi questa straordinaria edizione del festival jazz novarese, ormai una creatura diventata adulta. I ringraziamenti non sono rituali ma sentiti, per aver saputo gettare il cuore oltre l’ostacolo. E allora grazie a Corrado Beldi e Riccardo Cigolotti, ma anche a Enrico Bettinello coproduttore e insostituibile consulente artistico. Mancano solo 350 giorni alla prossima edizione…

[riffsstrides]

Frontières - Louis Sclavis (2017)

Este álbum de Louis Sclavis contém peças que ele compôs para o cinema e a televisão e principalmente para documentários. As peças foram retrabalhadas com a adição de novas partes rítmicas, vocais ou solos. Uma coleção de melodias na fronteira de estilos, culturas e territórios, imagens musicais em movimento que contam a história de um grande músico.

Accordion – Vincent Peirani

Cello – Vincent Courtois

Composed By, Reeds, Flute, Melodica – Louis Sclavis

Double Bass – Bruno Chevillon

Drums – Christophe Lavergne

Electric Guitar – Gilles Coronado (tracks: 11, 13, 18), Maxime Delpierre

Percussion [Percussions] – Keyvan Chemirani

Piano, Keyboards – Benjamin Moussey

Violin – Dominique Pifarély

[jazzworldquest-blog]

FRANCE/ITALY: Regis Huby, Bruno Chevillon, Michele Rabbia Reminiscence -- Live at Livio Felluga Winery ( Cam Jazz 2018)

"One still hears a lot of special pleading for the violin in jazz, as if – despite the efforts of everyone from Stuff Smith and Joe Venuti to Jean-Luc Ponty, Zbigniew Seifert and Michał Urbaniak – it still isn’t considered quite “proper” for the music, too “European” or “classical”. In reality, the very first “jazz” groups were probably small string ensembles, playing after-hours in spaces down below the big house, maybe in amongst the master’s cherished clarets and ports, accompanied by strange echoes and bangs. So maybe what Régis Huby, Bruno Chevillon and Michele Rabbia have created on Reminiscence, for all its modern means, is a set of music that goes back in form and feeling to the very earliest days of a great music. It takes a certain gift to make electronic effects as warmly immediate and physical as so-called “acoustic” instruments, as more than “effects”, but that is the gift of Huby, Chevillon and Rabbia on Reminiscence, a profoundly involving and often complex set of interlocked sequences recorded at the Livio Felluga Winery in Brazzano di Cormòns, Italy. This is music that doesn’t need scare quotes. Whether it is “jazz”, “post-jazz” or something beyond jazz altogether, ultimately doesn’t matter. What does is its intense and evolving engagement with the musical material and with an audience. In instrumentation and in setting it is just the latest and quite logical stage in a long creative evolution". (Brian Morton) CAM JAZZ via Blogger https://ift.tt/2NmDj9M

[michaelparque]

O.U.R.S @ Le Dix, Nantes 29 novembre 2019

Soundcheck épisode #1 - Pannonica Extramuros

Clément Janinet (v)

Hugues Mayot (b cl, ts)

Bruno Chevillon (b)

Emmanuel Scarpa (dms)

Copyright Michael Parque 2019 All rights reserved

[diyeipetea]

François Corneloup & Jacky Molard Quartet, David Chevallier Septet, Christophe Monniot & Didier Ithursarry Duo y Caravaggio Quartet (Festival Les Émouvantes -Musiques d’Aujourd´hui- / cNrr Conservatoire Pierre Barbizet, Marseille -France-. 2021-09-24/25) (Segunda Parte) [Conciertos de jazz] Por Joan Cortès

François Corneloup & Jacky Molard Quartet, David Chevallier Septet, Christophe Monniot & Didier Ithursarry Duo y Caravaggio Quartet (Festival Les Émouvantes -Musiques d’Aujourd´hui- / cNrr Conservatoire Pierre Barbizet, Marseille -France-. 2021-09-24/25) (Segunda Parte) [Conciertos de jazz] Por Joan Cortès

Festival Les Émouvantes – Musiques d’Aujourd´hui Fecha: viernes, 24 de setiembre de 2021 Lugar: cNrr Conservatoire Pierre Barbizet, Salle J. Billioud (Marseille -France-) Grupos: François Corneloup & Jacky Molard Quartet François Corneloup, saxo barítono Jacky Molard, violín Catherine Delaunay, clarinete Vincent Courtois, violonchelo David Chevalier Septet David Chevalier, dirección, arreglos,…

[tmnotizie]

MACERATA – Il secondo appuntamento della trentasettesima edizione della Rassegna di Nuova Musica, firmata dal direttore artistico Gianluca Gentili, martedì 19 marzo, ore 21.15, sempre al Teatro Lauro Rossi di Macerata, è dedicato a Stefano Scodanibbio – maceratese e fondatore della Rassegna – e al suo strumento, il contrabbasso, e non sarà di sola musica, ma anche di parole sulla musica.

La serata infatti prevede all’interno del concerto, affidato musicalmente all’Ensemble Ludus Gravis, anche la presentazione da parte di Andrea Cortellessa del volume di scritti e taccuini di Scodanibbio “Non abbastanza per me” a cura di Giorgio Agamben ed edito da Quodlibet.

In apertura di concerto Alisei (versione per dieci contrabbassi,1986) di Scodanibbio e anche il suo Ottetto per otto contrabbassi (2010/2011), due brani compresi nel cd “Alisei” uscito recentemente per l’etichetta discografica ECM; quindi Fury Road – Omaggio a Stefano Scodanibbio per contrabbasso (2016) di Daniele Roccato e Cupio Dissolvi per otto contrabbassi e nastro (2017) di Fabio Cifariello Ciardi, ispirato alla voce di Martin Luther King durante il celebre discorso “I have a Dream” è dedicato “a Daniele Roccato e agli strabilianti interpreti del Ludus Gravis”. Il programma musicale è completato dalla prima esecuzione italiana di Seascapes X per otto contrabbassi (2018) di Nicola Sani.

L’Ensemble Ludus Gravis è composto dai contrabbassisti Giacomo Piermatti, Francesco Platoni, Alessandro Schillaci, Stefano Battaglia, Paolo Di Gironimo, Andrea Passini, Simone Masina, Mauro Tedesco, Rocco Castellani, Alessio Cordaro e ha come solista e direttore Daniele Roccato, artefice di un memorabile concerto l’anno scorso all’Asilo Ricci.

Ensemble Ludus Gravis Ludus Gravis è un ensemble di soli contrabbassi. Fin dal suo debutto nel 2010 ha rappresentato un’autentica novità nel panorama musicale contemporaneo attirando l’attenzione di compositori che hanno segnato la storia della musica e ricevendo inviti da molti dei più prestigiosi festival musicali europei. Per Ludus Gravis hanno scritto, tra gli altri, Hans Werner Henze, Sofia Gubajdulina, Terry Riley, Gavin Bryars, Julio Estrada, Stefano Scodanibbio, Fabio Cifariello Ciardi, Luigi Ceccarelli, Nicola Sani, Filippo Perocco, Edgar Alandia, Tonino Battista.

La sua attività si estende nei campi del teatro, della danza, della letteratura, della poesia, delle arti visive, del cinema muto e contempla progetti con accompagnamento d’orchestra e con live electronics. È stato ospite di prestigiosi festival in Italia e all’estero: La Biennale di Venezia, Ravenna Festival, Rassegna di Nuova Musica (Macerata), I Concerti del Quirinale di RadioTre (Roma), AngelicA (Bologna), Società Aquilana dei Concerti “B. Barattelli”, Associazione Alessandro Scarlatti (Napoli), Màntica Festival (Cesena), Imago Dei (Austria), Music of Changes e Gaida (Lithuania), I Cantieri dell’Immaginario (L’Aquila), Unicum (Slovenia), Borealis e Vinterfestuka (Norvegia), Ad Lucem Introvert Art Festival (Lettonia), Suså Festival (Danimarca), Lux Aeterna (Germania), Musica D’Hoy, VI Ciclo de Conciertos de Mùsica Contemporànea , Fundaciòn BBVA (Spagna).

L’ensemble è composto generalmente da otto contrabbassi ma il numero varia da quattro a dodici in relazione al programma. Ludus Gravis ha registrato per le etichette discografiche ECM e WERGO. BBC Radio, Rai Radio3 e il canale televisivo SkyArte hanno trasmesso suoi concerti. Il gruppo è nato dall’incontro tra Stefano Scodanibbio e Daniele Roccato.

Il concerto, come tutti quelli della Rassegna di Nuova Musica, sarà registrato e trasmesso da Rai Radio 3. I biglietti (Biglietteria dei teatri in piazza Mazzini e circuito online Vivaticket) hanno un costo di 5 euro (intero) e 3 euro (ridotto; gli studenti UNIMC potranno usufruire di ulteriori agevolazioni). Per l’appuntamento del 21 marzo all’Ex Asilo Ricci, considerato il limitato numeri di posti, si raccomanda l’acquisto del biglietto con anticipo.

La XXXVII Rassegna di Nuova Musica è realizzata con il contributo del Comune di Macerata e con il supporto logistico/organizzativo dell’Associazione Arena Sferisterio; si avvale della collaborazione dell’UNIMC e dell’Accademia di Belle Arti di Macerata. Importante presenza è inoltre quella dell’Orchestra Filarmonica Marchigiana con la quale il Festival ha realizzato negli ultimi anni numerosi progetti originali. Quest’anno ha inoltre il sostegno del MiBACT e di SIAE, nell’ambito dell’iniziativa “Sillumina – Copia privata per i giovani, per la cultura”.

Fabio Cifariello Ciardi (Roma, 1960) Interessato alla percezione, alla memoria e all’uso della tecnologia applicata a diversi fenomeni che raccontano il nostro presente, Fabio Cifariello Ciardi si dedica alla musica strumentale, a quella elettroacustica e alla creazione di opere multimediali. Di recente ha cominciato a interessarsi alla trascrizione strumentale delle inflessioni e dei ritmi della voce parlata e per la composizione della propria musica ha creato software originali dedicati al calcolo della dissonanza, la spazializzazione del suono, la sonificazione in tempo reale degli andamenti dei mercati finanziari e la trascrizione strumentale di voci parlate.

Per l’originalità della sua ricerca ha ricevuto premi e commissioni da istituzioni musicali nazionali ed internazionali. A partire dal 2001, con il collettivo Edison Studio, compone e realizza dal vivo le colonne sonore per diversi film muti e progetti di collaborazione con performer quali il percussionista Mahamad Gavhi Helm, il trombonista Ivo Nilsson e il contrabbassista Daniele Roccato. È  titolare della cattedra di Composizione presso il Conservatorio di Trento, collabora con il Dipartimento di Sociologia dell’Università di Trento ed è uno dei conduttori della trasmissione Radio3 Suite.

Daniele Roccato (Adria, 1969) Contrabbassista solista e compositore, è stato invitato a suonare in molti dei festival e delle sale da concerto più prestigiose del mondo, spesso presentando proprie composizioni. Per lui hanno scritto e trascritto Gavin Bryars, Fabio Cifariello Ciardi, Julio Estrada, Ivan Fedele, Sofia Gubajdulina, Hans Werner Henze, Filippo Perocco, Terry Riley, Nicola Sani, Stefano Scodanibbio. Gubajdulina ha dichiarato: “…la sua interpretazione mi ha totalmente sconvolta. Non ho mai sentito un contrabbasso suonare in questo modo”  RAI (RadioTre).

Assieme a Scodanibbio ha fondato l’ensemble di contrabbassi “Ludus Gravis”, del quale è concertatore e solista. In ambito teatrale ha collaborato con Vitaliano Trevisan, Chiara Guidi e con il Teatro delle Albe, per la danza con Virgilio Sieni. Nel campo della creazione estemporanea e dell’improvvisazione ha realizzato progetti concertistici e discografici con Tarek Atoui, Bruno Chevillon, Mark Dresser, Paolo Damiani, Marc Ducret, Vinko Globokar, Garth Knox, Joëlle Léandre, Ciro Longobardi, Elio Martusciello, Sabina Mayer, Thollem McDonas, Butch Morris, Fabrizio Ottaviucci, Barre Phillips, Dominique Pifarély, Michele Rabbia, Terry Riley.

Improvvisa spesso con danzatori, attori, scrittori, poeti, pittori, scultori, giornalisti di guerra. Da menzionare la collaborazione con Jim Dine, pittore, scultore e poeta, tra i fondatori della Pop Art e con Lucia Goracci (Rai News24). È titolare della cattedra di contrabbasso presso il Conservatorio Santa Cecilia di Roma ed ha tenuto seminari presso: Conservatoire National Supérieur (Parigi), Universität der Kunste (Berlino), San Francisco State University, Norwegian Academy of Music (Oslo), Università Ca’ Foscari di Venezia, UNAMM (Città del Messico), UNEAC (L’Havana), Royal Danish Academy of Music (Copenhagen). Ha registrato per ECM, Wergo, Sony. Diversi suoi concerti sono stati trasmessi da Rai RadioTre, da BBC Radio e dal canale Sky ARTE.

Nicola Sani (Ferrara,1961) Compositore e direttore artistico è autore di opere di teatro musicale, opere per la danza, composizioni sinfoniche e da camera, opere elettroniche e installazioni intermediali, eseguite e presentate nei principali festival e stagioni internazionali. I suoi lavori sono stati interpretati da direttori, solisti e formazioni strumentali di fama internazionale. Ha collaborato inoltre con alcuni tra i più grandi artisti nel campo del cinema e della videoarte, tra cui Michelangelo Antonioni e Nam June Paik.

Per le sue opere e per la sua attività nel campo della direzione artistica nel 2011 è stato insignito dal Ministro della Cultura francese del titolo di “Chevalier des Arts et des Lettres”. Ha inoltre ottenuto numerosi premi e riconoscimenti in Italia e all’estero, tra i quali il New Connections Award del British Council, il Prix “Ars Electronica” del Festival di Linz, il Premio Guggenheim, il Premio “Capitani  dell’Anno” per la Cultura, il Premio Scanno “Fondazione Tanturri” per la Musica, il Premio “Giuseppe Verdi” alla carriera, il premio “Erato Farnesina” del Ministero degli Affari Esteri. Con il Teatro Comunale di Bologna ha ottenuto quattro “Premi Abbiati” per altrettante produzioni realizzate nelle Stagioni 2015 e 2017.

Svolge parallelamente all’attività compositiva quella di direttore artistico e manager di istituzioni musicali. Attualmente è direttore artistico dell’Accademia Chigiana di Siena. È inoltre consigliere di amministrazione della Fondazione “Archivio Luigi Nono di Venezia”, consigliere artistico della IUC-Istituzione Universitaria dei Concerti di Roma, consulente dell’Accademia Tedesca “Villa Massimo” e dell’American Academy in Rome per l’Italian Affiliated Fellowship. È stato sovrintendente e direttore artistico del Teatro Comunale di Bologna, consigliere di amministrazione e direttore artistico del Teatro dell’Opera di Roma, e presidente dell’Istituto Nazionale di Studi Verdiani di Parma, presidente della Fondazione Isabella Scelsi di Roma.

Stefano Scodanibbio (Macerata, 1956 – Cuernavaca, 2012).

Contrabbassista e compositore, il suo nome è legato alla rinascita del contrabbasso negli anni ’80 e ’90; ha infatti suonato nei maggiori festival di musica contemporanea numerosi pezzi scritti appositamente per lui da compositori quali Bussotti, Donatoni, Estrada, Ferneyhough, Frith, Globokar, Sciarrino, Xenakis. Ha collaborato a lungo con Luigi Nono (arco mobile à la Stefano Scodanibbio è scritto nella partitura del Prometeo) Giacinto Scelsi e Terry Riley. John Cage, in una delle sue ultime interviste, ha detto di lui: Stefano Scodanibbio is amazing, I haven’t heard better double bass playing than Scodanibbio’s. I was just amazed…His performance was absolutely magic.

Ha composto più di 50 lavori principalmente per strumenti ad arco e per quattro volte le sue composizioni sono state selezionate dalla SIMC, Società Internazionale di Musica Contemporanea. Nella realizzazione delle sue composizioni ha collaborato, fra gli altri, con coreografi e danzatori come Virgilio Sieni, Hervé Diasnas, con il regista Rodrigo Garcia, l’artista Gianni Dessì, il filosofo Giorgio Agamben, il poeta Edoardo Sanguineti. Nel 1983 ha fondato e diretto per trent’anni la Rassegna di Nuova Musica di Macerata. Sue musiche e sue interpretazioni sono state incise per le etichette discografiche ECM, Wergo, Sony, Mode e Stradivarius.

I prossimi appuntamenti

 Mercoledì 20 marzo – Teatro Lauro Rossi, ore 21.15 Stefano Gervasoni Due voci per flauto e violino (1992) Helmut Lachenmann Pression per violoncello (1968) Francesco Filidei Esercizio di pazzia II per quattro interpreti (2014) Helmut Lachenmann Toccatina per violino (1986) Stefano Scodanibbio Quodlibet per viola e violoncello (1991) Helmut Lachenmann Trio d’archi (1965)

mdi ensemble Sonia Formenti, flauto Lorenzo Gentili-Tedeschi, violino Paolo Fumagalli, viola Giorgio Casati, violoncello

Giovedì 21 marzo – Ex Asilo Ricci, ore 21.15 Stefano Scodanibbio Due pezzi brillanti per contrabbasso (1985) Stefano Pierini Ultravox I per contrabbasso e live electronics (2018) Stefano Scodanibbio Lawless Roads per pianoforte (2010) Stefano Scodanibbio …and Roll per contrabbasso (2007 Sofija Gubajdulina Sonata per contrabbasso e pianoforte (1975)

Francesco Platoni contrabbasso Federico Nicoletta pianoforte