946 - Mederic Collignon et Jus de Bocse "Vivants au Parc Floral, Paris Jazz Festival, 4 juillet 2009"

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638 - Mederic Collignon & Jus de Bocse "live Cologne 9 octobre 2008"

Mederic Collignon & Jus De Bocse - Jazz Sur Le Vif
envoyé par canterburyscene

Juste pour se faire une "toute petite" idée de ce Jus de Bocse survitaminé & sensuel (voyez la fin de la vidéo, c'est du charnel).
Je ne sais même pas ce que FAIT Jus de Bosce.
Comment DIRE cette expression là, dense, forte, intense, toujours en re-création, sur le fil et jamais complaisante.
C'est un véritable Objet Musical Non Identifié.
Après ça, hein, comment accepter toute la daube servie quotidiennement sur les ondes par la propagande ?

Jus de Bocse, c'est :
Médéric Collignon (cornet de poche, bugle, synthétiseur, voix),
Franck Woste (Fender Rhodes),
Frédéric Chiffoleau (contrebasse),
Philippe Gleizes (batterie)

En 6 titres immenses, le concert de Cologne remet les choses à leur place.
C'est dit.
Faut arrêter la molle attitude (non, ceci n'est pas une critique négative de Soft Machine, seulement un constat, celui d'un manque de radicalité, partout).

(liens dans le propos)

213 - Ecouter Naples et ... choisir

Louis Sclavis clarinettes, saxophones
Vincent Courtois violoncelle, electronics
Médéric Collignon pocket trumpet, voices, horn, percussion, electronics
Hasse Poulsen guitare

Title
1 Colleur de nuit (dedicated to Ernest Pignon-Ernest)
2 Napoli's Walls (dedicated to bambini)
3 Mercè (dedicated to Gesualdo)
4 Kennedy in Napoli (dedicated to Charles Mingus)
5 Divinazione moderna I
6 Divinazione moderna II (dedicated to Erri de Luca)
7 Guetteur d'inaperçu (dedicated to Daniel Mermet)
8 Les apparences (dedicated to Antonietta)
9 Porta segreta (dedicated to Enzo Tedesco)
10 Il disegno smangiato d'un uomo (dedicated to Vesuvio)

ECM, 2003 (ECM 1857)

Louis Sclavis has for decades dazzled and provoked listeners with his literate, ambitious musical projects that examine not only the many dimensions and directions of the sonic spectrum, but also his Renaissance-like embrace of literature, foreign cultures, and now, visual art. With a new quartet collaborating with him -- only cellist Vincent Courtois is retained from his previous outing, L'Affrontement des Prétendants -- Sclavis turns his eyes, ears, and spirit toward an investigation of the paintings of the French artist Ernest Pignon-Ernest on Napoli's Walls. Pignon-Ernest, born in 1942, is a curious and wonderfully captivating artist, since he works not on canvas but on public surfaces. From 1987-1995 he worked in Naples, digging through a knotty, tragic history that involved both Oriental and Occidental cultures and the aftermath of volcanoes, disease, defeat at the hands of many armies, and the poetry of its people through it all. Sclavis (playing both clarinets and saxophones), Courtois (on cello), Médéric Collignon (on pocket trumpet, electronics, voices, and horn), and Danish guitarist Hasse Poulsen engage Pignon-Ernest head-on. They explore the various musical traditions of Naples, but also of the entire region through the language of the postmodern, as improvisation, formal composition, ethnomusicology, and an aesthetic that attempts to illustrate the visual aurally. This is accomplished by stitching together the region's popular and antiquated song forms (from folk to opera to madrigals), jazz (through a Mingus-like engagement with history and the dissemination of cultural mores), sophisticated and striated harmonic sensibilities, and a nuanced aesthetic of dissonance. There are ten selections on Napoli's Walls, all but one of them dedicated to a person or place and all of them warm and utterly engaged in time and place, whether the piece has humor in its articulation, such as on the title track or "Kennedy in Napoli," with its wondrous counterpoint, or is more elegiac as in "Divinaziona Moderna, Pt. 1" and "Guetteur d'Inaperçu." The classical thematics and structure of "Les Apparences," with its lilting cello line that counters the pocket trumpet in creating a theme to which Sclavis adds his trademark rounded tone on clarinet, is among the most striking moments on the set, especially as Poulsen's guitar breaks the dynamic and then shifts it into a meditative improvisation. Simply put, Napoli's Walls is an album that moves jazz from its rarefied 21st century ghetto and engages it in a different dimension, as it offers the visual as another song form and place of investigation for sonic inquiry as well as dissemination for antiquated and popular culture. And far from being merely academic, this record is full of sensual pleasure and an utterly accessible, often deeply moving articulation of a new musical language. ~ Thom Jurek, All Music Guide

Voir le site d'Ernest Pignon Ernest (et ses peintures sur les murs de Naples)

(déjà évoqué ici)

Achetez les alboumes de Louis SCLAVIS !

(lien dans le commentaire)

36 - La peau des murs - Napoli's Waltz

Ernest PIGNON-ERNEST
Louis SCLAVIS


Pour voir et écouter, cherchez le lien "Naples", regardez et écoutez (Divinazione moderna II)

Louis Sclavis "Napoli’s Walls" :

Louis Sclavis clarinettes, saxophones
Vincent Courtois violoncelle, electronics
Médéric Collignon pocket trumpet, voices, horn, percussion, electronics
Hasse Poulsen guitare

- Colleur de nuit
- Napoli’s Walls
- Mercè
- Kennedy in Napoli
- Divinazione Moderna, part 1
- Divinazione Moderna, part 2
- Guetteur d’inaperçu
- Les apparences
- Porta segreta
- Il disegno smangiato d’un uomo

ECM 1857