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Electronics ace Jean-Marc Foussat (France) and trumpeter Jean-Luc Cappozzo (France) are established purveyors of whatever may constitute 'new music' loosely skirting the fringes of improvised jazz or perhaps, open-ended experimental frameworks. Here, they team with a willing partner, viola performer Joao Camoes (Portugal) for a session that conjures an electro-organic vibe and spans numerous emotive sensations, whether the music may be pointed to existential, sober or magical manifestations.
During the three extended pieces, the trio executes dark, foreboding and stark phrasings often contrasted with poignant free-form dialogues and Foussat's instigation of off-centered sound-shaping jaunts, due to his vast arsenal of electronics and imaginative creative sparks. Indeed, the band fuses a mosaic of alternating flows, periodically tinted with an alien musical language that is apt to play tricks on your psyche. And while listening to "De tes yeux aux miens," I initially thought my neighbor's dogs were acting up in the yard, but soon realized Foussat was up to his old tricks again by placing these sounds in the background of the mix. Hence, the barking dogs imparted a bit of realism underneath Cappozzo's hissing sounds and Camoes' sinewy passages.
The musicians' unconventional musical posture is not flooded with creaky and choppy motifs or tireless free-jazz like improv. Essentially, they play it in the middle, exemplified by the final track "Berceuse pour Manuel," featuring whispery EFX and solemn cello phrasings, designed with a trajectory that instill notions of a slow progression into a catastrophic event. They gradually raise the pitch, abetted by the trumpeter's upper register voicings, yet switch gears as Cappozzo uses a harmonic flute to help create a fractured world music vibe, taking the band into a slowly fizzing fadeout. Nonetheless, the musicians' collective brainpower and wily implementations yield a pervasive aural canvas that conveys a lasting impression.
Track Listing: L'espace qui nous separe; De tes yeux aux miens; Berceuse pour Manuel.
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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