Guillaume Viltard - Contrebasse & Musique improvisée - Utopic Free Music » lire

 

about 3 bass solos


Guillaume Viltard Running Away  Un rêve Nu urn 001

Joe Williamson The Inhibitionist  Jedso Records #2

Barre Phillips Portraits Kadima Collective Recordings KCR 025


Double bass solos were barely tolerated and usually treated with condensation in jazz before the 1960s At that point, new sonic experiments liberated nearly every instrument from its expected role. Like similar sessions for reeds and brass, solo string projects began to appear in profusion. This trio of solo bass CDs demonstrates how the concept of individual improvisation now has a history of its own and how the strategies adopted to do so are being extended by a new generation of players.

Barre Phillips however is veteran explorer in this territory. An American who has been based in Europe since the 1960s, Phillips recorded Journal Violone, one of the first solo bass albums, in 1968. A more easygoing affair, Portraits is an object lesson in string and wood finesse. On then other hand, Ivory Coast-born, French native Guillaume Viltard and Canadian-born, Stockholm-based Joe Williamson are at least a generation younger than Phillips, and their CDs ring with improvisations that are earthier – in Viltard’s case literally – rougher, more frenetic and use more uncommon techniques to contort additional textures from the bull fiddle than Phillips does.

Running Away’s final tracks are more basic, because as they were recorded outside within Bouconne forest, the sounds heard besides Viltard’s measured stops, staccato abrasions and spiccato pops are aviary chirps, whistles and peeps. The bassist, who in other contexts has worked with saxophonist Heddy Boubaker and pianist Nusch Werchowska, takes the bird calls in stride, paralleling them with his own mid-range plucks, creaking tremolos and other sound extensions, but making no attempt at mirrored onomatopoeia.

These same rubbed staccato lines and bouncing string sweeps are applied in more controlled studio circumstances earlier on. Powerful in execution, it often seems as if Viltard is physically digging into the sound currents with both hands, exposing whistling flutters, resonating slaps and wood-rending growls. Sweeping from sul pontiucello squeaks to slippery staccato strokes during the improvisations, his bass-string expression encompasses the fiction engendered from plucking tightly wound, very thick strings, as well as multiphonic soundboard thumps that result from the bow rubbing against taut strings.

Williams, a peripatetic European traveler who has played with stylists as different as guitarist David Stackenäs and pianist Misha Mengelberg, has a similar command of his instrument on The Inhibitionist’s three extended solos. Most impressive is the title track which uses broken-octave scrapes and intermittent note clusters to create a distinctive narrative. Connective rather than solipsistic in his playing, Williams layers and positions different tones so that overall harmoniousness is revealed. These harmonies bypass mere tunefulness however. Using glissandi to move upwards to accelerated squeals and pummeling downwards for knife-edge scrapes, his strategy is more direct than aleatoric. Thumping the strings or tapping the instrument’s waist and belly, his note-placement is still descriptive enough so that the layered tones complete a musical thought. Elsewhere massed sul ponticello and basso rumbles evolve slowly enough to reveal bowed polyharmonic and polyrhythmic textures. At points producing a tone that resembles that of a bass clarinet, his moderato strokes and mirrored rebounds affiliate in such a way that the resulting tones seem as inevitable as breathes.

Neither of these sessions may even have been conceived if not for then pioneering work of Phillips, who has played with everyone from saxophonist Evan Parker to violinist Malcolm Goldstein. In an avuncular mood during the six selections recorded at a Graz concert which makes up Portraits, Phillips alternates his bass playing with talking, describing his relationship with the bulky instrument and his history as an improviser.

Down to business, he proceeds to improvise in such a way that often the four-string bass sound as if it has several more strings. At one point he strums guitar-like on the strings while creating secondary accompaniment with the same string-set. Phillips’ higher-pitched textures are often cross-popped as if he was playing a dulcimer, yet flow cleanly in the lowest range, resembling bass-guitar pops. At certain junctures in fact, it appears as if Phillips’ reverberating pedal point is not only creating mandolin-like twangs, but also staccato strokes and reverberations which could be defined as Scruggs’ picking. And all this is done matter-of-factly.

Probably the high point of the disc is” Up and Out”. Here clicking and clanking string slaps are stretched with jagged timbres and spiccato extensions. Percussively thumping the bull fiddle’s wood, Phillips exposes strident fundamentals and their extensions, extending the lines further into polyrhythms. Finally he refracts patterns downwards to the bass lowest notes, crafting a highly tonal coda that could be an Appalachian ballad.

Phillips’ earlier experiments helped change the face of the bass, and Viltard and Williamson are talented enough to help carry on this work.

Ken Waxman on   http://www.jazzword.com

May 22, 2010

 

 

more about “Running Away”


     Il vient de loin, à petits pas, soulève la poussière du chemin et s’approche de nous, titubant et grotesque, les bras tendus en une supplique muette. Puis il gémit, s’assied sur une pierre et pleure. Le silence s’ensuit, lourd de questions ouvertes. De sourds grondements naissent de sa poitrine et, dès lors, il chante, une mélodie pervertie à la récurrence tourmentée. Que faire sinon attendre qu’il nous parle, demande sa route, un verre d’eau ou l’asile pour la nuit ? Mais, déjà, sa voix s’est affermie. Il nous fustigerait presque, déçu qu’on ne l’ait pas encore compris, qu’on n’ait pas entendu qu’il ne faisait que passer et que, de cris en soupirs, ce n’est pas à nous qu’il s’adresse, mais à cette montagne, là-bas, au pied de laquelle il a décidé de creuser un trou pour mieux s’y étendre et mourir.

     Il nous en racontera, pourtant, des histoires à n’en pas croire son propre entendement, des cordes disloquées qui sonnent mieux après qu’on les a humiliées, des meubles fendus en leur centre d’où s’échappent encore les fantômes d’un passé flamboyant, des souvenirs d’un temps où la musique obéissait à d’inamovibles règles et l’urgence d’une révolution qui, de répétitions en silences, déboulonna les certitudes les mieux affirmées.

     Quand il nous eut dépassé, lorsqu’il eut rejoint le lieu de sa quête, il s’arrêta, embrassa la terre et creusa longtemps, avec rage et acharnement, un trou assez grand qui puisse les accueillir, lui et son instrument. Et l’herbe repoussa, enrichie de cet engrais imprévu, épais, saturé de mémoire et d’imaginaire.

     La seule fois que je vis Guillaume Viltard, auprès du saxophoniste Jack Wright et de l’électroniciste Grundik Kasyansky, je n’eus d’oreilles que pour cette contrebasse grinçante qui arrachait le son à la terre même, comme si l’instrumentiste avait souhaité s’y enfoncer à jamais. Et c’est exactement ce que je ressens à l’écoute de ce solo capté en mai 2008 au Local et dans la Forêt de Bouconne : une opiniâtreté dans la recherche qui ne faiblit jamais et dénote aussitôt la marque d’un artiste profondément authentique. Rien d’étonnant, donc, à ce qu’Heddy Boubaker ait souhaité inaugurer son nouveau label avec un tel artiste ! Sa démarche mérite amplement les attentions qu’Un Rêve Nu porte à ses productions : un objet unique, illustré d’une œuvre picturale élaborée dès la rencontre entre la plasticienne et le musicien, édité à peu d’exemplaires et destiné à durer bien longtemps après que les fichiers numériques du temps qui passe aient succombé au grand bug…

     Et si l’ouvrage semble un peu cher à certaines bourses (30€, ce n’est rien, mais il faut les avoir…), on peut encore en télécharger gratuitement le contenu musical sur le site d’Un Rêve Nu 

 

Joel Pagier, Improjazz janv. 2010

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J’espère que ça ne va pas faire trop de premières d’un coup : Running away est le premier disque du label « Un rêve nu ». C’est le premier disque (à ma connaissance) du contrebassiste Guillaume Viltard et enfin, pour moi, la première critique.

Non ça ne m’est pas venu comme ça, c’est une proposition de R&C. Ça ne m’est pas réservé. Une critique faite par un musicien pratiquant le même instrument. Une bonne idée. Surement. Ça fait maintenant un moment que je tourne autour du disque et puis bon… C’est donc un commentaire de musicien, de contrebassiste.

Ce disque est l’issue sonore et picturale d’une proposition du label à Guillaume Viltard, et ce que nous entendons est en quelque sorte un choix collectif, même si bien sur c’est Guillaume qui joue. Les morceaux, ou plutôt les moments choisis le sont par Guillaume Viltard, Heddy Boubaker et Nicolas Carrière qui s’est aussi occupé de tout le son (prises, mixage, mastering etc). Pour en finir avec les détails, qui n’en sont pas toujours, le disque a été enregistré en multi-microphonies. Ce qui nous est donné à écouter est un choix entre plusieurs prises simultanées d’endroits différents.

Parfois on ne sait pas trop ce que c’est. C’est bon. C’est du son. C’est une oreille (une pensée) à l’affut de ce que des doigts (combien ?) ou un archet produisent, ou les deux, et nous invite à nous promener là dedans, dans le comment il les tord, comment il s’en amuse, s’en détourne, les abandonne. Et puis les reprend. Il y a des moments ou l’on est vraiment surpris de ce que sort cette bonne vieille contrebasse et c’est magique.

La prise de son est très bonne. Par contre, je suis gêné par l’équilibre dans les prises extérieures entre les deux sources sonores, les sons ambiants et ce qui est joué. C’est bien sur très intéressant de se déplacer, de se baigner dans des sons dont on va s’imprégner pour notre jeu. A un moment on a vraiment une sorte d’agonie de vieux vaisseau (cachalot) dans la forêt qui est d’une étrangeté superbe.

Parce que, je ne sais pas vous, mais quand j’écoute un disque ou un concert, je cherche toujours ce qui est à l’origine de ce que j’entends. Par ce qui est à l’origine, je veux dire pourquoi la ou les personnes font ces choix. Et je peux partir loin dans le comment, pourquoi… Vous l’aurez compris, je ne suis pas trop d’accord avec ceux qui disent que l’art n’a pas de message, n’est pas politique etc… Même si tout ça est à bien peser. Mais donc là en l’occurrence ce qui me gêne, c’est que j’ai l’impression que ce que j’entends, n’est pas ce que Guillaume entends (des résonances locales qui ne doivent pas aller jusqu’à ses oreilles ou bien moins, des bruits secs qui jaillissent dans le micro…). Et comme moi ce qui me passionne c’est son voyage, comment il le mène. Eh bien des fois ça me met comme une distance.

Alors peut être que là  on arrive à la question : « comment parler exactement du disque ? »

Pour la réalisation de l’objet, très beau travail de mise en forme de la peintre Zéhavite Cohen, peintures différentes sur chaque disque et chacune des deux plaques de bois encadrant le C.D.

Pour la musique s’agit il d’une vision du travail solo de Guillaume Viltard ou d’un disque solo ? J’ai envie de dire que ce n’est pas complètement un disque solo. C’est expliqué sur le site internet. Mais rien sur le disque sinon le lien vers le site internet. Il faudrait que cet aspect soit plus explicité sur le disque lui même. Sans gacher le travail de la plasticienne. Pas facile sans doute.

Benoit Cancoin

Revue & Corrigée dec 09

 

about “Running Away” (again)

By Richard Pinnell |

Guillaume Viltard’s solo release Running Away seems a fitting release to be writing about right now. It is a CD that perhaps a couple of years back I would never have given a chance, let alone found myself enjoying over a good number of listens. Why? well its a solo acoustic double bass album that, in some places is busy and talkative. Although there is plenty of invention and diversity in the playing here, I wouldn’t have given it a second chance. We all grow older and wiser sometime I guess. Viltard was born in the

Ivory Coast in 1975, making him, at 34 a little older than he looks. He spent much of his time as a musician in France, but moved to

London a few years back, where he hooked up with Eddie Prevost’s weekly improv workshop. It is through his involvement with the circle of musicians in that orbit that Viltard came to my attention, initially through some impressive live concerts, and then through this album, which as well as being available as an impressively packaged CD, is also available for free as a high quality download here. Before commenting upon the music itself, I should say that I find the approach that the Un Reve Nu label have taken to this, their first release quite admirable. The CD itself comes packaged between two handpainted pieces of wood, cut up from twelve large oil paintings by Zéhavite Cohen. To hold in your hands, its an impressive object, smelling strongly (and wonderfully) of oils and held together with neatly placed magnets the packages really are a labour of love, and while there are 300 of them, no two are the same. They are not cheap though. I paid for mine at a recent gig, simply as a mark of appreciation for the good music I had heard live, and so as to be able to support a musician I like. The fact is though, the music is free to anyone with a computer and a broadband connection. There is no copyright on the music at all, and if you don’t want to pay anything for it, you don’t have to. I don’t think you can say fairer than that.

So how does it sound? Is it busy, gabby, talkative etc…? does it sound like it could have been released just as easily in 1985? The answer is both yes and no to all of these questions. Do any of them really matter though? No, probably not. There are eight tracks on Running Away, and each has its own character. Six of the pieces are named Local 1-6, and the last two, named Bouconne 1 and 2 were recorded outside in a forest at

Bouconne, France. The Local pieces all have a particular resonance to the recordings, an echoing, stony presence that make them sound like they were recorded in a large, hollow room, maybe a disused warehouse or similar. They vary between careful, slow, considered pieces like much of Local 1 through to the rasping, emotive expressionism of Local. Viltard mixes up bowing and attacking the strings with manual plucks and swipes at them, rarely working the body of the instrument, usually just the strings, but with a range of texture and technique that is very impressive, and just a little use of live processing, delay in particular in one or two places. I called the music expressionistic, and really that is a great word for it. Viltard works with raw passion as he plays, losing himself completely into the relationship he has with his big chunk of strung hollow wood. Every last second of the disc seems to be dripping in emotion and power, but this energy is carefully channelled through this range of styles, techniques, and subtle use of technology. Every musical statement, even the quiet, half hidden ones are made confidently and with bold personal commitment that, for me at least, make these recordings very powerful indeed.

Local 5 might be my favourite of the indoor (studio?) recordings. It has a distant, wistful feel to it as it begins, relaxing the listener, putting an arm around you before slowly complicating things, adding intricate detail and fraught, constant, almost overpoweringly urgent bowed sounds. Digging your ears deep into this piece, closely following the music through its endless twists and turns is a troubling, difficult experience, but a powerful one all the same.Confusingly, the last of the Local pieces, number six, begins, and runs for just a hanful of seconds before the CD player clicks over to the next track, the first of the forest recordings, but with the timer counting down from minus seven and a bit minutes. Certainly, on this beautiful little track birdsong can be heard in the background, but it isn’t completely clear if the recording actually takes place in the forest, or if a recording made there is layered behind the studio capture. As the forest sounds start to take hold in this piece, so Viltard’s playing becomes quieter, and much less busy, as if responding directly tot the gentle calm of these surroundings, or at the very least a recording of them. The downloadable tracks all seem to last different lengths to the ones on the CD as well (Its a “proper” CD not a CDr as well, so this isn’t a case of a bad burn) but again this doesn’t matter. This music probably doesn’t need any great analysis, its beauty comes through the powerful interaction between human and instrument, following a great tradition, but losing none of its power through this. The Bouconne forest tracks (track?) are just lovely, the way the bass seems to duet with the streams of twittering high pitched birds and occasional cuckoo bellows is a real joy.Running Away is great, gripping, exciting stuff that I can listen to over and over again. It certainly isn’t all blood and thunder stuff, the music is varied throughout, but always deeply sensual. Its also the second straight-up solo double bass album I have spent a lot of time with this year after John Edwards’ excellent Volume. I must be getting old

 

about an Interlace gig

By Richard Pinnell |

 ”The last piano/strings/electronics trio was made up of visiting French pianist Marjolaine Charbin, bassist Guillaume Viltard and the electronics of Grundik Kasyansky, and althogh really very different again, it was another supremely moving and darkly humorous performance. Just recently Grundik Kasyansky seems to have turned into a magician. I say this because he sits behind a blank, grey box of tricks, occasionally throws his arms about in the air, and somehow, without seeming to do anything (and I’ve been watching carefully!) odd disembodied little second long grabs of pre-recorded material somehow jump out from the otherwise abstract electronic music. He also dresses in a top hat and a cloak.

One of the above statements isn’t true, but one thing Kasyansky does for certain is use a small clip -on microphone (I described it incorrectly as a spanner last time, I’m probably wrong here as well) as his main focus, dramatically rubbing it around the floor at one point, using it inside the end of Charbin’s piano at another. Even just waving it violently in the air seemed to create light crackles, and all of this resulted in a set of sounds used sparingly enough, and at just the right moments to bring bright colour to the music. then there are the little bursts of sound that come out of nowhere and seem completely unrelated. There are specks of classical music, some kind of odd singing in a foreign tongue, a passing car etc etc. These always appear at a low volume and literally for a fleeting moment, buried in the otherwise fluid exchanges of the music. When the first few appear you wonder if what you heard was something else, such is their nature, close enough to perhaps be mistaken, but oddly out of place enough to stand out.

Viltard played less than he did when I saw him perform with 9! on Tuesday, and his lighter, more spacious touch, much of it without a bow worked well when combined with the bold strokes of Charbin’s purely acoustic piano, a mixture of inside techniques and straight-up, sat-down playing. On occasions the two French nationals tipped things into jazzier areas, never quite falling into free jazz structures, but hinting at it, though never for long enough that Kasyansky’s interventions wouldn’t pull things right back. The trio played with suddenly contrasting dynamics, as had the group before them but not the same extremes, and instead sounded the most cohesive and musically assured group of the night, working as a unit to create shapes in the music that kept things bouncing about, but also ensured a strong sense of structure. The wild card moments from Kasyansky, whether they be sudden assaults on the stage floor with the clip/spanner mic or the rabbit from the hat additions of the prepared sounds were regularly humorous as well, not laugh your head off funny, but smile across face cheek. Too often the value of humour in improvised music is overlooked or underestimated. It worked really well on this occasion.”

 

talking about a solo recording

C’est le premier disque du label Un Rêve Nu. Heddy Boubaker a défini les principes de son fonctionnement dans Improjazz, on trouve le texte également sur le site du label.Evitant le piège du produit, de la chose calibrée et toisée, l’accueil dans l’enregistrement d’éléments sonores extérieurs à la musique fait du disque quelque chose de tout à fait distinct du concert qui évite traditionnellement ces parasites autant que possible. Le disque passe alors dans l’ordre de l’écrit, c’est à dire de la mise en mémoire et de la création d’une réalité trop précisément complexe pour être le fait instantané d’un seul. L’écrit a inauguré sur le papier une grande mutation que la pratique de l’enregistrement aborde peut-être à son tour, selon des modalités qui lui seront propres. L’écrit prend une autre forme quand la vue, c’est à dire l’étagement et la géométrie de la page, se substitue à un flux (passer du rouleau au codex et de la graphie continue à la séparation des mots et à la ponctuation). Quelque chose du même ordre nous est donné par le cd de Viltard, travail d’une équipe sur un objet singulier, écoute prêtée par plusieurs à la musique d’un seul, et apport plastique distinct de Zéhavite Cohen pour chaque disque.A l’écoute du disque, et c’est injuste, je me sens plus intéressé par le processus que par la musique de Viltard qui s’y prête sans rechigner (comme dans un roman on peut être happé par la style ou la structure plus que par l’histoire, les personnages ou les thèmes). Le contrebassiste, qui possède une puissante éloquence polyphonique, ne démérite pourtant en rien, évoquant par moments Peter Kowald ou Barre Philips.

Noël Tachet in Improjazz

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Pas une course en avant, mais plutôt une magnifique assurance et une parfaite sérénité. /Un Rêve Nu/, nouveau label propose deux planchettes de bois assemblées avec des aimants, ornées recto-verso avec de la peinture colorée et en vis-à-vis, deux beaux collages sombres où trône la contrebasse derrière laquelle se cache Guillaume Viltard, un fantastique contrebassiste. Ah oui, j’oubliais sur un centre de caoutchouc, un cédé enregistré au Local et  dans la forêt de Bouconne, les 1, 2 et 3 mai 2008. Foin de démonstrations virtuoses, mais une profonde qualité du travail de l’archet, du timbre, des glissandos, des harmoniques. Le label d’Evan Parker, Psi, nous avait régalé avec des albums solos de contrebasse John Eckhardt (/Xylobiont/) et de de John Edwards (/Volune/). Nos amis du Sud – Ouest ( dont le très bon saxophoniste et activiste Heddy Boubaker) nous envoient le numéro 3 de la trilogie, */Running Away/*. C’est vraiment superbe, maîtisé, aérien, subtil. Guillaume a titré chaque morceau  /Local 1, Local 2/, etc… jusque /6 /et puis /Bouconne1 /et/ 2,/ soit huit belles pièces développant dans le détail un aspect de jeu. /Local 6/ a de magnifiques traces de freinage qui procure un excellent moment. Dans la forêt de Bouconne, le fugueur nous lâche dans la nature et donne vraiment envie de revenir au début du disque. On ne se lasse pas de ses mélismes abstraits et merveilleux. Une sensibilité fine qui se traduit dans les inflexions rares des harmoniques. Si vous n’avez pas encore entendu parler de Guillaume Viltard, sachez qu’on en parle hors des frontières. A découvrir absolument.
Jean-Michel Van Schouwburg

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Un Reve Nu is a new netlabel that specializes in experimental improvisational music. Their first album titled Running Away features eight tracks by

Ivory Coast bassist Guillaume Viltard. These are solo efforts on the upright bass but there does appear to be some electronic effects on a few tracks. However the main attraction is Viltard’s clear virtuosity in getting a wide range of emotion and sounds from this sometimes unwieldy instrument. Another interesting musical experiment that you will never hear from the commercial music concerns.Running Away is available in 160kbps MP3. If you like the music support the artist and netlabel by buying the limited edition CD.http://freealbums.blogsome.com/2009/09/24/guillaume-viltard-running-away/

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There are two aspects to this record I should discuss. First, the music: doublebass solos recorded in studio and in nature. Viltard masters a good range of extended techniques that allow him to explore the whole range of the instrument’s sonic possibilities (some of which sounded new to my ears). His music is not particularly moving, but it stimulates the mind. Now, the object: Running Away is the first release on Un Rêve Nu, a label involved in art editions. The CD is packaged between two slabs of stratified wood, 19×14 cm, smooth on the inside faces where the cover and notes are printed, rough on the outside faces, which have been hand-painted. The pieces of wood are held together by four magnets. A unique design, marvelously executed.

Deux points à discuter sur ce disque. D’abord, la musique: des solos de contrebasse enregistrés en salle et dans la nature. Viltard est un musicien aux techniques étendues impressionnantes; il explore toutes les possibilités de l’instrument, dont quelques-unes qui étaient nouvelles à mes oreilles. Sa musique n’est pas particulièrement émouvante, mais elle aiguillonne l’esprit. Ensuite, l’objet: Running Away est la première parution de l’étiquette Un Rêve Nu, qui fait clairement dans l’édition d’art. Le CD est coincé entre deux planches de stratifié de 19 x 14 cm, lisses sur la face intérieure, où sont imprimées pochette et notes, rudes à l’extérieur, où elles sont peintes à la main. Les deux planches sont réunies par quatre aimants. Un objet à la conception originale et au rendu superbe.http://blog.monsieurdelire.com/2009/09/2009-09-15-floydbucknermarsh-guillaume.html

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We find the CD slabbed between two parts of wood, that have photos on the inside, and handmade paintings on the outside. Both pieces of wood are held together by magnets. Nice work! The music on this CD comes from Guillaume Viltard, another young french improvisor. He played with Boubaker, Lebrat and many other improvisors. He developed already at a young age a love for improvised music (CecilTaylor). In 2003 he did his fist soloperformance. I’m not sure, but I suppose ‘Running Away’ is his first solorecord of doublebass improvisations. Some of the recordings were done in the open air, in the woods of Bouconne to be more precise. The other ones in some studio. Viltard proves himself as an improvisor with many extended techniques to his disposal. His music is from time to time very introspective, making it difficult to enjoy. But there are also many  fantastic eruptions of soundimprovisation to be enjoyed here. The recordings that were done in the woods leave much room for the birds and environment, although it goes too far to speak of a dialogue with nature. On the other hand in my mind these outside recordings created the phantasy that the sounds produced by Viltard come from a horde of insects.
Dolf Mulder - Vital Weekly #700 http://www.vitalweekly.net/700.html

 

Off the cuff at Cafe Oto between Seijiro’s sets…

“There followed a solo double bass performance that was added late to the bill from Guillaume Viltard, a young musician that has been playing a lot at the weekly Eddie Prevost workshop. I had seen him play before, most recently in a duo with his frequent playing partner Ute Kanngiesser, but never solo, and I have to admit to being taken by surprise by this set. Far from just being extra filler for the concert Viltard took the opportunity, and simultaneously his bass by the scruff of the neck and tore into a quite brilliant set, incredibly powerful, emotive playing, passionate. occasionally violent music. He rocked about around his instrument, bowing, plucking and wrenching at the strings but always with precise intention, never just randomly attacking the bass. The music was full but not lacking in structure, able to breathe but always coming at you. He began playing while the audience were still walking around chatting, and watching him when few others were he plunged everything into the performance right from the outset. moulding this music out of nowhere oblivious to the fact that people were sat watching. I found this performance absolutely captivating.”

By Richard Pinnell |

 

Lyonel Trouillot

« Le bruit est la chose la mieux partagée, mais le silence, là où ça se noue à l’intérieur de toi, là où tu saignes du dedans comme un arbre qui ne donne pas à voir le travail du temps, le vide intérieur qui le fait soudain s’écrouler alors que tous le croyaient debout pour l’éternité ! »

 Lyonel Trouillot Bicentenaire éd. Actes Sud 2004 p 93

 

« Free music can be a musical form that is playing without pe-worked structure, without written music or chord changes. However, for free music to succeed, it must grow into free spiritual music which is not… a musical form ; it should be based off of a life form. It is not about just picking up an instrument and playing guided by math principles or emotion. It is emptying oneself and being, without a label on the music… »

 

William Parker Document Humanum 1975

 

 

 

 

The Girl with Many Eyes

One day in a park

I had quite a surprise.

I met a girl

who had many eyes.

 

 

She was really quite pretty

(and also quite shocking!)

and I noticed she had a mouth,

so we ended up talking.

 

Lire le reste de cet article »

 

Nicolas Deleau

« Et il faut se souvenir toujours que le regard s’éduque, qu’il est fainéant, et que lui livrer la moindre facilité, c’est à tout coup lui autoriser une terrible hibernation. »

Nicolas Deleau La dent d’orque et autres voyages autour de mes bibelots éd. Glénat 2005

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