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viewing 1 To 11 of 11 items
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LP
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FFL 090LP
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Volume 1. Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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2CD
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FFL 090-91CD
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Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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LP
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FFL 091LP
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Volume 2. Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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CD
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FFL 093CD
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If the jazz of François Tusquesis is "free," his spirit is even more so: having recorded free jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself. In 1971 he founded the Intercommunal Free Dance Music Orchestra which, as the notes to this album stated, "is an interpretation of a music which synthesizes the different communities living and working in France." In 1976, on the first album (L'InterCommunal) listeners can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows "by heart?" Having lived for a long time in Nantes, he would expand his "brittanitude" on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these "devils from the mountain" who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle! With percussion from Samuel Ateba and Kilikus, the association launches the "bombardier:" the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor's Brotherhood of Breath ("La rencontre") when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff ("Les racines de la montagne" or "Le cheval" sung by Andreu).
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LP
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FFL 093LP
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LP version. If the jazz of François Tusquesis is "free," his spirit is even more so: having recorded free jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself. In 1971 he founded the Intercommunal Free Dance Music Orchestra which, as the notes to this album stated, "is an interpretation of a music which synthesizes the different communities living and working in France." In 1976, on the first album (L'InterCommunal) listeners can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows "by heart?" Having lived for a long time in Nantes, he would expand his "brittanitude" on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these "devils from the mountain" who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle! With percussion from Samuel Ateba and Kilikus, the association launches the "bombardier:" the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor's Brotherhood of Breath ("La rencontre") when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff ("Les racines de la montagne" or "Le cheval" sung by Andreu).
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CD
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FFL 092CD
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Music-lovers of all lands, rejoice! Here you have the rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4: Jo Maka. But before that, a bit of history: The Intercommunal Free Dance Music Orchestra was created in 1971 by an "old hand" of French free jazz, François Tusques. "Free Jazz" was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. So he then founded the Inter Communal, an association a name under which the different communities could become closer and compose, simply. In 1976, on the first album: L'Inter Communal, listeners can already hear Tusques playing without borders in the company of Carlos Andreu, Ramadolf, Michel Marreand, and Jo Maka (as a conclusion to this Vol. 4, listeners can hear them in 1977 at the Moulin de Prades Le Lez). Over the next decade, the, association kept going with concerts at the Dunois theatre, in 1980 and 1981, it welcomed old hands and new recruits (Bernard Vitet, Jean-Jacques Avenel, Jacques Thollot, Sylvain Kassap). If Vol. 4 : Jo Maka is an homage to the Guinean saxophonist, who passed away a few months before the release of this selection of concert recordings, it also displays a proud collective inspiration! One foot in the blues, and ears open to everything else, Tusques begins with a lament that the Company rapidly transforms into a joyful dance ("Vive la Commune"), weaves a full-blown party piece ("Poses ton fardeau et remets la machine en route," "7 rue des prêcheurs," "Mazir") or gets fabulous with Mingus ("Fable Of Faubus"). And there you have it, with so many revolutions François Tusques is almost back to free jazz. So, your turn with the turntable.
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LP
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FFL 092LP
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LP version. Music-lovers of all lands, rejoice! Here you have the rerelease of the fourth album of the Intercommunal Free Dance Music Orchestra recorded with the Guinean saxophonist Jo Maka. The title says it all: Vol.4: Jo Maka. But before that, a bit of history: The Intercommunal Free Dance Music Orchestra was created in 1971 by an "old hand" of French free jazz, François Tusques. "Free Jazz" was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérinand Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. So he then founded the Inter Communal, an association a name under which the different communities could become closer and compose, simply. In 1976, on the first album: L'Inter Communal, listeners can already hear Tusques playing without borders in the company of Carlos Andreu, Ramadolf, Michel Marreand, and Jo Maka (as a conclusion to this Vol. 4, listeners can hear them in 1977 at the Moulin de Prades Le Lez). Over the next decade, the, association kept going with concerts at the Dunois theatre, in 1980 and 1981, it welcomed old hands and new recruits (Bernard Vitet, Jean-Jacques Avenel, Jacques Thollot, Sylvain Kassap). If Vol. 4 : Jo Maka is an homage to the Guinean saxophonist, who passed away a few months before the release of this selection of concert recordings, it also displays a proud collective inspiration! One foot in the blues, and ears open to everything else, Tusques begins with a lament that the Company rapidly transforms into a joyful dance ("Vive la Commune"), weaves a full-blown party piece ("Poses ton fardeau et remets la machine en route," "7 rue des prêcheurs," "Mazir") or gets fabulous with Mingus ("Fable Of Faubus"). And there you have it, with so many revolutions François Tusques is almost back to free jazz. So, your turn with the turntable.
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CD
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FFL 083CD
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The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a dead end together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). Compiling extracts from concerts given between 1976 and 1978, L'Inter Communal demonstrate the "social function" which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler, and Jean Méreu. Andreu, claimed Tusques, was a griot "who created of new genre of popular song improvised with our music, based on events going on at the time." L'Inter Communal can start the festivities: on "Blues pour Miguel Enriquez," it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: "L'heure est à la lute," is the new song offered by the l'Intercommunal Free Dance Music Orchestra. As if proof were needed that their music is still more than timely!
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LP
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FFL 083LP
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LP version. The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a dead end together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). Compiling extracts from concerts given between 1976 and 1978, L'Inter Communal demonstrate the "social function" which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler, and Jean Méreu. Andreu, claimed Tusques, was a griot "who created of new genre of popular song improvised with our music, based on events going on at the time." L'Inter Communal can start the festivities: on "Blues pour Miguel Enriquez," it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: "L'heure est à la lute," is the new song offered by the l'Intercommunal Free Dance Music Orchestra. As if proof were needed that their music is still more than timely!
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CD
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FFL 084CD
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The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a dead end together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Intercommunal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). As with L'Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a "people's jazz workshop." In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu "Le Musichien," an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap, and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. "Les Amis d'Afrique" is recorded the following year, at the Tombées de la Nuit festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive "brotherhood of breath." Featuring Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.
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LP
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FFL 084LP
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LP version. The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. "Free Jazz" was also the name of the 1965 recording Tusques made along with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin, and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz. Wondering if free jazz wasn't a bit of a dead end together with Barney Wilen ("Le Nouveau Jazz") or even solo ("Piano Dazibao" and "Dazibao N°2"), Tusques formed the Intercommunal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française). As with L'Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a "people's jazz workshop." In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu "Le Musichien," an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap, and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. "Les Amis d'Afrique" is recorded the following year, at the Tombées de la Nuit festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive "brotherhood of breath." Featuring Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.
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viewing 1 To 11 of 11 items
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