CD 12€ frais de port inclus


 

Are we waiting for the clearest sun
to tell us where to leave our bricks ?
the empty churches
and the southern landscape
remind me my weakness.
do not open your body please.
you could lose a liver.

cicadas you hear,
the summer is coming,
i was driving with that man.
he does not breathe.

i breathe the smell of his future.

the sea will clean everything.


Marialuisa Capurso : voix
Jean-Marc Foussat : Synthi AKS, voix







extrait :

Place du marché

Marialuisa Capurso & Jean-Marc Foussat En Respirant FOU Records FR-CD 17

Chez FOU Records, les CD’s de Jean-Marc Foussat se suivent sans se ressembler. Trois pièces enregistrées « live at POP –der Laden » à Berlin le 19 février 2016 proposent des ambiances planes, faussement répétitives et étirées avec soin à base de Synthi AKS (Foussat) et la voix et les paroles traitées par des effets électroniques multiples (Capurso). Le titre du premier morceau, Osmosis (19’49’’), ne croit pas si bien dire, les deux artistes s’intégrant leurs sons l’un à l’autre avec une dynamique excellente. Entend-on une guimbarde ou l’effet d’un traitement sonore vers 12’/13’ ? Le vent des steppes souffle ou la bise transperce les fenêtres d’un château abandonné des Carpathes, Marialuisa  entonne une berceuse bisyllabique qui finit par se démultiplier lorsqu’on devine les murmures de Jean-Marc. Les sons changent lentement de couleurs et de timbres comme dans un crescendo/ decrescendo réussi et on aboutit dans un autre espace-temps où tinte un filet de son aigu. Purple Future (15’28’’ ) est une autre mouture de ces procédés et qui débute par des boucles de voix (mère-fille ??) Dans le processus, JMF injecte sa voix dans l’installation en la traitant : on découvre une trame d’une réelle richesse sonore même si le côté obsessionnel voire répétitif (la boucle vocale initiale est une constante durant quelques minutes et ce procédé est réitéré par la suite) ou « planant » est un peu trop appuyé. Par rapport à la musique électronique que les médias essaient de nous servir, la musique du duo Capurso – Foussat est nettement plus accidentée, volatile, lucide et somme toute, plus vraie.  Capurso transforme graduellement deux mots - litanie à chaque loop comme un rituel secret. La recherche de l’électronicien n’est pas vaine : on l’entend pêcher quantité de sons intéressants et très fins. Vu l’émission continue de son dispositif, on réalise parfois la nature de ses mutations sonores après coup. Place du Marché (11’06’’) fait cohabiter un jodel d’oiseau, des battements de guimbardes sidérales et des croassements synthétiques…. Se joignent d’autres matériaux (vents électroniques), des boucles quand d’autres s’estompent, l’électronique revêtant une apparence de vocalité, frémissante parmi les bribes de conversations étouffées et tournoyantes et des dissonances rebondissantes. Je ne vais pas me perdre dans la description de cette troisième pièce terminée par un couplet vocal très efficace, inspiré d’un folklore balkanique imaginaire et traité en boucle et multitracking. Mais plutôt témoigner de sa qualité qui élève la tenue de cette collaboration d’un concert. JMF : à suivre !

   

Marialuisa CAPURSO - Jean-Marc FOUSSAT : « En respirant »

Marialuisa CAPURSO - Jean-Marc FOUSSAT : « En respirant » -  voir en grand cette image
Marialuisa CAPURSO - Jean-Marc FOUSSAT : « En respirant »
Fou Records

Vocaliste italienne (basée à Berlin où a été enregistré ce disque), Marialuisa Capurso cherche à associer l’art et la vie, le son et le mouvement avec comme ligne directrice l’improvisation, ce qui l’amène à la recherche et à la création de nouveaux mondes sonores. Pas étonnant que Jean-Marc Foussat ait enregistré en duo avec elle ce disque en forme de fresque d’une grande richesse sonore. Leurs quêtes sont convergentes.

> Fou Records - FR-CD 17 / Musea

Marialuisa Capurso : voix, effets, objets / Jean-Marc Foussat : synthi AKS, voix, etc.

01. Osmosis / 02. Purple Future / 03. Place du Marché // Enregistré en concert à Berlin le 19 février 2016.

João Camões & Jean-Marc Foussat - À La Face Du Ciel ‎(Shhpuma, 2016) ****
Marialuisa Capurso & Jean-Marc Foussat – En Respirant (Fou, 2016) ***1/2



By Dan Sorrells

Playing in a duo with electronics shaman Jean-Marc Foussat must be like discovering what instrument your partner plays the moment the curtain rises—and perhaps more disturbingly, discovering minute to minute that it’s a number of instruments you’ve ever encountered before. Two recent duo recordings are as much about how traditional instruments respond to the frenetic, protean realm of electronics and synthesizers as about the power Foussat wields with such devices. À La Face Du Ciel pairs Foussat with Portuguese violist João Camões, while En Respirant is a duet with Italian singer and fellow electronicist Marialuisa Capurso.

It’s tempting to view Foussat as the dominant force on À La Face Du Ciel, with Camões playing defense. This may be misleading however, if only because discerning when Foussat is being pro- or reactive is far from straightforward, and the unflappable Camões sounds as self-possessed in responding as he does when he takes the lead. Earlier this year, I reviewed Bien Mental, the trio of Foussat, Camões, and Claude Parle. There, Parle’s sweeping accordion drones were the cohesive, binding element. Here, that role falls to Camões, as it is often difficult to follow everything Foussat is doing in detail. There’s an arc to each of the two pieces that’s drawn by the familiar timbre of Camões’ viola, an earthy, grounding force in a music that is otherwise extraterrestrial, interstellar.

“Suite Pour La Trosième Oreille” gets off to an abrasive start, and it’s unclear whether Camões is amplifying his viola, Foussat is manipulating it, or a mixture of the two. What’s immediately apparent is how near-sounding the recording is. Listening through headphones lends the impression of a concert from within—less that you’re in an aural space than your skull is the space. (“Do you hear that sound?” Daniel Higgs once asked. “Your resonating skull sound—the sweetly humming skull tone.”) It’s a fitting illusion for music that’s linear but constantly shifting, like the endless turns and warps of thought itself.

As always, I’m amazed at the sheer variety of effects Foussat produces. “Suite Pour La Trosième Oreille” eventually shifts into the rasp and buzz of a robotic cicada swarm. “Mécanique Verte” is oceanic, with Camões’ plinking pizzicato notes splashing in Foussat’s watery sampling. But what Foussat tosses into the mix never sounds like some jumbled grab-bag; it truly seems he has an encyclopedic knowledge of every strange timbre available to him, and chooses exactly the sound he intends for each moment. Camões often counters with lyrical, punctuated remarks, poking holes in Foussat’s enveloping sound. Still, in one rather disconcerting moment towards the end of the record, it sounds like Camões simply evaporates into computer bleeps and bloops, finally succumbing to the digital onslaught.

En Respirant is more programmatic, briskly changing ideas and approaches. The music here is about subverting—even destroying—some of our most strongly-held aural associations by playing with the human voice, which by the very wiring of our brains we can never fail to address. Both Foussat and Capurso use their voices as fuel for their electronics, distorting them beyond all recognition but periodically revealing flashes of the human source. Paradoxically, this allows some of the most conventional moments to be the most powerful – towards the end of “Osmosis,” after a thorough deconstruction of anything resembling humanity, the sound drops away to Foussat’s electronic shimmer, and Capurso enters with a simple, hymnal melody, vocal loops slowly breaking away and diverging in a haunting canon.

“Purple Future” playfully contrasts Capurso’s voicings with those of seagulls, something that sounds ridiculous, but feels logical in the psychedelic swirl the two have conjured. The track moves from trippy to soothing to rather menacing while preserving many of the same elements. By adding and subtracting sounds, the context of others is rebuilt on the fly: nighttime insects change in a moment from summertime soundtrack to rapidly encroaching swarm.

Both À La Face Du Ciel and En Respirant document fascinating strategies for dealing with the “problem” of Foussat: Camões, by using virtuosity and ingenuity to confront him on the viola’s terms; Capurso, by blending into the electronic wash and addressing his challenges from the inside out.

http://www.freejazzblog.org/2016/09/jean-marc-foussat-wjoao-camoes-and.html


quinta-feira, 22 de dezembro de 2016

“Top 10”: paradas obrigatórias de 2016




Encerramos o ano com nosso Top 10, listando álbuns imperdíveis lançados em algum momento de 2016. Mais do que apontar os melhores discos editados no ano, o que se pretende é indicar títulos que deveriam ser obrigatoriamente degustados pelos apreciadores da música livre e criativa...




Para quem ainda insiste que tudo já foi dito e o melhor ficou no passado, a free music tem respondido a cada ano com uma nova safra de registros notáveis, criações conduzidas por jovens e veteranos que mostram que essa música permanece viva e sempre pode surpreender: basta estarmos prontos para ouvi-la, receptivos ao que, generosamente, nos é oferecido por artistas de todos os cantos do mundo. Peter Evans, com seus apenas 30 e poucos anos, é indiscutivelmente um dos nomes contemporâneos essenciais do free e seu último disco solo, “Lifeblood”, se revela obra genial nascida para se tornar referência do gênero; outra figura fundamental da cena atual, a guitarrista Mary Halvorson, aparece aqui com o inebriante trio The Out Louds; dentre as novidades, destaque para o trio Protean Reality, que tem à frente o saxofonista Chris Pitsiokos, de 26 anos, que estreou com um álbum de grande frescor e vitalidade, fazendo um elo entre o free jazz de ontem e de hoje; outra saxofonista, a sueca Anna Högberg, nos brindou também com uma estreia empolgante com seu sexteto feminino; no modo mais noise e explosivo dessa seara, o baterista Weasel Walter e seu Large Ensemble trouxeram um exemplar com voltagem máxima; na outra ponta, o lirismo do duo Ivo Perelman/Matthew Shipp em mais um sublime capítulo, “Corpo”; dentre os veteranos, o trompetista Wadada Leo Smith, aos 75 anos, surpreende com mais um ambicioso projeto; ambicioso também têm sido os trabalhos para conjuntos maiores do cornetista Taylor Ho Bynum, que este ano nos apresentou seu incrível “PlusTet”; da intensa cena de Portugal, o genial “Red Trio” ressurge em novo brilhante encontro com o saxofonista britânico John Butcher; há ainda o impro hipnótico construído com voz e eletrônicos da dupla formada pela italiana Marialuisa Capurso e o francês Jean-Marc Foussat; e da cena local, destaque para o segundo título oficial do Otis Trio, aqui em versão octeto. Dentre as reedições que chegaram ao mercado nos últimos meses, há o inspirado “Nana”, do baterista finlandês Edward Vesala (1945-1999), disco até então muito raro, tendo sido editado originalmente em 1970.
Claro que outras imperdíveis gravações surgiram neste ano (e aparecerão, sem dúvida, em listas de outros espaços dedicados à música), mas esses são os nossos destaques de 2016. Boas audições. (Fabricio Vieira)




1. LIFEBLOOD
Peter Evans
More is More




2. PROTEAN REALITY
Protean Reality
Clean Feed



3. AMERICA’S NATIONAL PARKS
Wadada Leo Smith
Cuneiform Records



4. SUMMER SKYSHIFT
Red Trio + John Butcher
Clean Feed



5. ENTRER THE PLUSTET
Taylor Ho Bynum
Firehouse 12 Records



6. ANNA HÖGBERG ATTACK
Anna Högberg Attack
Omlott



7. THE OUT LOUDS
Mary Halvorson/ Ben Goldberg/ Tomas Fujiwara
Relative Pitch



8. CORPO
Ivo Perelman/ Matthew Shipp
Leo Records




9. IGNEITY: AFTER THE FALL OF CIVILIZATION
Weasel Walter Large Ensemble
Independente




10. EN RESPIRANT
Marialuisa Capurso/ Jean-Marc Foussat
Fou Records