In stock
CD
UN ENSEMBLE & JEAN-LUC GUIONNET
“Points sans surface”
Points sans surface is a composition by Jean-Luc Guionnet for the Un Ensemble, a large ensemble created in 2012 under the direction of David Chiesa.
The piece includes a sound system for 25 musicians and 8 speakers.
It is also a visual experience generated by light. The general device consists of an acoustic and electroacoustic spatialization of sound. The audience is surrounded by musicians and speakers. Each instrumentalist is picked up by a microphone connected to a mixing console offering the possibility of amplifying these sources and broadcasting them again, according to the needs of the room. The sound then takes on a three-dimensional dimension: an acoustic distance (musicians), a proximity (loudspeakers), a verticality (musicians and loudspeakers are placed at different heights). Jean-Luc Guionnet indicates partition positions, and sometimes shouts them out. The musicians throw diagonals, correspondences, throws towards the walls, the floor, the ceiling. Sometimes, we perceive blocks or, on the other hand, lost solos. Beyond the autonomies of play, timbres and tempo, an indescribable feeling of sound invasion of the air settles in, disappears, returns, we hear like an orchestra that would scrap with another, elsewhere.
Julia-Hanadi Al Abed : electronics ; Laurie Batista : voice ; Tanguy Bernard : sousaphone ; Benjamin Bondonneau : clarinet ; Christophe Cardoen : lights ; Patrick Charbonnier : trombone ; Eric Camara : double bass and viola ; Paolo Chatet : trompet ; David Chiesa : electric piano frame ; Jean-Luc Guionnet : alto saxophone ; Thomas Lachaize : saxophones ; Loic Lachaize : sound ; Juliette Lacroix : cello ; Delphine Lafon : voice ; Guillaume Laidain : analog synthesis ; Didier Lasserre : snare drum and cymbals ; Bruno Laurent : double bass ; Johann Loiseau : flutes, small percussions, theremin ; Johann Mazé : drume ; Mathias Pontevia : drums ; Christophe Ratier : bass clarinet ; Jean Marc Reilla : analog synthesis, electronics ; Julia Robin : double bass ; Jean Rougier : double bass ; Frédéric Roumagne : electric guitar ; Ian Saboya : electric guitar ; Claude Saubole : acoustic guitar ; Julien Sellam : violin ; Stéphane Torré-Truéba : indian harmonium indien, voice.
12,00€
Out of stock
CD
LOUIS MINUS XVI
“De Anima”
Alto Sax : Adrien Douliez. Tenor Sax : Jean-Baptiste Rubin. Bass : Maxime Petit. Drums : Frédéric L’Homme.
“It’s been almost 10 years since Louis Minus XVI reigned over the free jazz of the Flandres. Fortunately for us, his reign is not ready to stop with this new album “De Anima”.
This Art Ensemble of Lille is hyperactive. In addition to three albums and a split with the Berber artist Lahcen Akil, we find members of the quartet in equally ambitious projects, such as Unik Ubik, M.Thibault, Hook, L’Atelier d’Education Musicale du Centre Social Raymond Poulidor, but also in the company of avant-garde cult figures such as Daniel Carter or Pascal Comelade.
The music of Louis Minus XVI is revolutionary, humanist scaffold jazz whose alto and tenor saxophones Adrien Douliez and Jean Baptiste Rubin are the breath of life. They mix, accompany each other, clash stereophonically, and systematically fall back on their legs like a gutter cat skirmish.
Frederic L’Homme’s abrasive drum play, from which chaos emanates, adds depth to this dialogue, and airs the space with world music incursions reminiscent of Okay Temiz’s work.
This twilight jazz, sometimes composed of afrobeat, is led by the stretchy and incisive bass of Maxime Petit, whose aggressiveness fades with a soft groove finesse, evoking the chaâbi sounds.
The experience is total live, in perfect symbiosis, Louis Minus XVI guarantee a trance at the crossroads of Post-Punk and Be-Bop.
The icing on the cake, they happen mostly in small places, close to people, reflecting the state of mind that unites them. ”
Sam Nolin
“It’s been almost 10 years since Louis Minus XVI reigned over the free jazz of the Flandres. Fortunately for us, his reign is not ready to stop with this new album “De Anima”.
This Art Ensemble of Lille is hyperactive. In addition to three albums and a split with the Berber artist Lahcen Akil, we find members of the quartet in equally ambitious projects, such as Unik Ubik, M.Thibault, Hook, L’Atelier d’Education Musicale du Centre Social Raymond Poulidor, but also in the company of avant-garde cult figures such as Daniel Carter or Pascal Comelade.
The music of Louis Minus XVI is revolutionary, humanist scaffold jazz whose alto and tenor saxophones Adrien Douliez and Jean Baptiste Rubin are the breath of life. They mix, accompany each other, clash stereophonically, and systematically fall back on their legs like a gutter cat skirmish.
Frederic L’Homme’s abrasive drum play, from which chaos emanates, adds depth to this dialogue, and airs the space with world music incursions reminiscent of Okay Temiz’s work.
This twilight jazz, sometimes composed of afrobeat, is led by the stretchy and incisive bass of Maxime Petit, whose aggressiveness fades with a soft groove finesse, evoking the chaâbi sounds.
The experience is total live, in perfect symbiosis, Louis Minus XVI guarantee a trance at the crossroads of Post-Punk and Be-Bop.
The icing on the cake, they happen mostly in small places, close to people, reflecting the state of mind that unites them. ”
Sam Nolin
8,00€
In stock
CD
Thomas TILLY & Jean-Luc GUIONNET
“Stones air axioms”
Thomas Tilly : recordings, measurements, composition. Jean-Luc Guionnet : church organ, measurements. “Nowadays, information is circulating through cables and codes, however, before the advent of technology, the very acoustics of amphitheatres and religious buildings fulfilled this transmission function. The cathedral is one example. Partly conceived to enhance voice and music, it offers a wide resonance to support the religious discourse. These unique acoustics are part of its characteristics. This massive air volume is being enclosed and defined by stone. It acts as an amplifier of noise and forces listening and attention. The behaviour of the visitor/audience going through the building is thus being altered. The architecture constraining this air volume is complex and ruled by doctrine. The shape it is drawing constitutes both a symbol and an element of hierarchy for the listening situation within the space. Stones, Air, Axioms” is a sound work based on the relationship between the architecture and acoustics of St Pierre Cathedral in Poitiers. It is articulated around informal acoustic experiments and a study of the site. It is restricted by the range of noises potentially generated by the site : on one hand the specific sonic environment of the building and on the other hand the organ used here as a sound generator. The use of the instrument has been defined by calculations combining metric measurements collected on site and the speed of sound in the air. Each time, the instrumental performance is being recorded on location and constitutes a great part of the material the piece is made of. This work has been developed into four distinct parts, each dealing with one aspect of the relation between sound and architecture. This piece has been specifically created as part of the MicroClima festival in 2010. It has been supported by the Poitou-Charentes council, the Espace Mendès-France and the MicroClima festival.”
12,00€
Out of stock
CD
Olivier BENOIT
“Serendipity”
“Olivier Benoit - guitar. Recorded in 2006 at La Malterie, Lille, France. Olivier Benoit plays solo since 1998. He has developed since those years specific work on the instrument, at the edge of prepared guitar or otherwise “effects” guitar, preferring to take advantage of the instrument “as it is” and as expressed.
The material and the acoustic space
In his solo, he developed a large timbral vocabulary, although he uses very few utensils and very little effect. Because he focused his research on intrinsic properties of the instrument, turning it into an ultra sensitive plate, seeking a mastery and ever greater precision. The music, though made of high feedback controlled, raw sounds, frictions of silence, stillness, tension or in the contrary relaxation, extreme speed, does not want to be a music of “effects” or a “catalog of sounds.”
Musical discourse
Musical form, whatever the project he works with (with la Pieuvre or solo here) is an absolutely essential factor in his speech, which makes music sometimes close to contemporary music, as the structure takes on a prominent place. The improvised aspect of his work allows him to maintain this state of emergency, this freedom, this opportunity to seize on the elements / events / bumps / accidents that may occur in situ, whether due to the acoustics of a room, the quality of the amplifier, the mental state or even the ambient humidity.” label info
The material and the acoustic space
In his solo, he developed a large timbral vocabulary, although he uses very few utensils and very little effect. Because he focused his research on intrinsic properties of the instrument, turning it into an ultra sensitive plate, seeking a mastery and ever greater precision. The music, though made of high feedback controlled, raw sounds, frictions of silence, stillness, tension or in the contrary relaxation, extreme speed, does not want to be a music of “effects” or a “catalog of sounds.”
Musical discourse
Musical form, whatever the project he works with (with la Pieuvre or solo here) is an absolutely essential factor in his speech, which makes music sometimes close to contemporary music, as the structure takes on a prominent place. The improvised aspect of his work allows him to maintain this state of emergency, this freedom, this opportunity to seize on the elements / events / bumps / accidents that may occur in situ, whether due to the acoustics of a room, the quality of the amplifier, the mental state or even the ambient humidity.” label info
12,00€
In stock
CD
Jean-Luc GUIONNET
“Plugged inclinations”
“I work since 1993 to an experimental approach of the church organ (CD “Pentes”, “Tirets”) :
1) we control a machine
2) the organ is halfway between vehicle and artificial intelligence : it is a public transport : a ship, a barque, a boat, a building within a building
3) passing the machinery to the filter of listening, gesture and architecture
4) bringing the blast into the space : ventilate
5) make this organ sound not like this other one
6) express the organ as one says about lemon.
The blast is endless.
And since 2005, to an extension of the results to the electric organ (CD “Gezurrezko Joera”) :
1) find ways to get into the experience with an electric vehicle
2) arranging keyboards as we used to assemble organs (great, récit, positive, choir)
3) consider the functional state of each keyboard and play with it
4) go back in the machine as we go back in a train of thought
5) transplant of an helpful member, a mixing desk is added to the keyboards : carburetor, distributor, central nervous system
6) microphones take care in examining the device
7) no other effects than these : organic device.
And the electric current is endless too.
Neither the blast nor the current do need me.”
Jean-Luc Guionnet
10,00€