Reviews that mention Christine Abdelnour

January 16, 2013

Mayas + Abdelnour

Myriad
Unsounds 30U

Christine Abdelnour/Bonnie Jones/Andrea Neumann

As: Is

Olof Bright OBCD 35

An important early 1960s disc by alto saxophonist Jackie McLean is called One Step Beyond, and when it comes to 21st Century saxophone sounds, Paris-based alto saxophonist Christine Abdelnour is involved with taking that proverbial step. Although she plays the same instrument as McLean, her reed experimentation as nothing to do with the Freebop practiced by McLean and others in the last century. Instead, as these absorbing CDs attest, her saxophone is a means to an end as a method of sound projection. Accepting as given the microtonalism and extended techniques practiced by reedists like Bertrand Gauguet and John Butcher, she improvises in an idiosyncratic manner which is more about tone synthesis then virtuosity. MORE

January 16, 2013

Christine Abdelnour/Bonnie Jones/Andrea Neumann

As: Is
Olof Bright OBCD 35

Mayas + Abdelnour

Myriad

Unsounds 30U

An important early 1960s disc by alto saxophonist Jackie McLean is called One Step Beyond, and when it comes to 21st Century saxophone sounds, Paris-based alto saxophonist Christine Abdelnour is involved with taking that proverbial step. Although she plays the same instrument as McLean, her reed experimentation as nothing to do with the Freebop practiced by McLean and others in the last century. Instead, as these absorbing CDs attest, her saxophone is a means to an end as a method of sound projection. Accepting as given the microtonalism and extended techniques practiced by reedists like Bertrand Gauguet and John Butcher, she improvises in an idiosyncratic manner which is more about tone synthesis then virtuosity. MORE

June 5, 2012

Label Spotlight

Potlatch Records
By Ken Waxman

Performing music’s loss is recorded music’s gain since Paris-based Jacques Oger abandoned his gig as a saxophonist with the free music trio Axolotl in the mid-1980s. Turning to market research, communication and translations, by 1997 he had saved enough to found Potlatch which to date has released 35 high-quality CDs. Oger spent 10 years with Axolotl, during which the band recorded two LPs and gigged frequently. He stopped playing, he admits “because I thought I was not creative enough to keep on in that area of music.” He was creative enough though when he translated his love for experimental music into a record label. MORE

October 10, 2011

Festival Report:

Météo Music Festival August 23 to August 27 2011
By Ken Waxman

Météo means weather in French, and one notable aspect of this year’s Météo Music Festival which takes place in Mulhouse, France, was the weather. It’s a testament to the high quality of the creative music there that audiences throughout the five days were without exception quiet and attentive despite temperatures in non air-conditioned concert spaces that hovered around the high 90sF. More dramatically, one afternoon a sudden freak thunderstorm created an unexpected crescendo to a hushed, spatial performance, by the Greek-Welsh Cranc trio of cellist Nikos Veliotis, harpist Rhodri Davies and violinist Angharad Davies, when winds violently blew ajar the immense wooden front door of Friche DMC, a former thread factory, causing glass to shatter and fall nosily. MORE

August 7, 2010

Magda Mayas/Christine Sehnaoui Abdelnour

Teeming
OlofBright OBCD 28

Pascal Battus/Christine Sehnaoui Abdelnour

Ichnites

Potlatch P110

Probing the furthest reaches of saxophone texture and timbre has been the preoccupation of altoist Christine Sehnaoui Abdelnour’s improvising during the past few years. Recorded within a month of one another, Teeming and Ichnites capture two significant performances by the Paris-based reedist.

Together they’re notable sonically and sociologically. Sonically the atonal fragmentation of breath, reed and metal in which she specializes is presented in different duo contexts. All-acoustic, Teeming teams Abdelnour with Berlin-based prepared piano explorer Magda Mayas. On the other CD, her partner is Paris’ Pascal Battus who uses motorized components from old walkmans as exciters, vibrators and resonators on cymbals and objects made of, among other substances, plastic, paper and cardboard. Sociologically, Abdelnour who is of Lebanese background, and who in the past has mainly played and recorded with improvisers on the Beirut-Paris axis, here establishes her own style with new partners, who while equally non-traditional in their playing, share similar creative DNA with her. MORE

August 7, 2010

Pascal Battus/Christine Sehnaoui Abdelnour

Ichnites
Potlatch P110

Magda Mayas/Christine Sehnaoui Abdelnour

Teeming

OlofBright OBCD 28

Probing the furthest reaches of saxophone texture and timbre has been the preoccupation of altoist Christine Sehnaoui Abdelnour’s improvising during the past few years. Recorded within a month of one another, Teeming and Ichnites capture two significant performances by the Paris-based reedist.

Together they’re notable sonically and sociologically. Sonically the atonal fragmentation of breath, reed and metal in which she specializes is presented in different duo contexts. All-acoustic, Teeming teams Abdelnour with Berlin-based prepared piano explorer Magda Mayas. On the other CD, her partner is Paris’ Pascal Battus who uses motorized components from old walkmans as exciters, vibrators and resonators on cymbals and objects made of, among other substances, plastic, paper and cardboard. Sociologically, Abdelnour who is of Lebanese background, and who in the past has mainly played and recorded with improvisers on the Beirut-Paris axis, here establishes her own style with new partners, who while equally non-traditional in their playing, share similar creative DNA with her. MORE

June 23, 2009

Christine Sehnaoui/Michel Waisvisz

Short Wave
Al Maslakh CD 08

Lawrence Casserley-Jeffrey Morgan

Room 2 Room

Konnex KCD 5213

As the sonic interaction of acoustic and electronics instruments in improv shifts from the province of novelty to that of an everyday occurrence, focusing on the strategies used for coherence is more instructive than enumerating sound sources.

So it is with these notable CDs, recorded about six months apart by duos from different backgrounds. Interestingly enough the two slightly younger performers – Lebanese-French alto saxophonist Christine Sehnaoui and “The Hands” manipulator Michel Waisvisz, of the Netherlands – blend and jumble pulses to such an extent that it’s often difficult to tell which instrument creates which sound. Furthermore neither player is much concerned with capturing a pure timbre. With Room 2 Room on the other hand, there’s never any question that American-born, Köln-resident Jeffrey Morgan is playing tenor and soprano saxophones, while the signal processing created by British electro-acoustician Lawrence Casserley demarcates itself. MORE

June 23, 2009

Lawrence Casserley-Jeffrey Morgan

Room 2 Room
Konnex KCD 5213

Christine Sehnaoui/Michel Waisvisz

Short Wave

Al Maslakh CD 08

As the sonic interaction of acoustic and electronics instruments in improv shifts from the province of novelty to that of an everyday occurrence, focusing on the strategies used for coherence is more instructive than enumerating sound sources.

So it is with these notable CDs, recorded about six months apart by duos from different backgrounds. Interestingly enough the two slightly younger performers – Lebanese-French alto saxophonist Christine Sehnaoui and “The Hands” manipulator Michel Waisvisz, of the Netherlands – blend and jumble pulses to such an extent that it’s often difficult to tell which instrument creates which sound. Furthermore neither player is much concerned with capturing a pure timbre. With Room 2 Room on the other hand, there’s never any question that American-born, Köln-resident Jeffrey Morgan is playing tenor and soprano saxophones, while the signal processing created by British electro-acoustician Lawrence Casserley demarcates itself. MORE

February 19, 2008

Tom Chant/Sharif Sehnaoui

Cloister
Al Maslakh Recordings MSLKH 05

MAWJA

Studio One

Al Maslakh Recordings MSLKH 07

MAWJA

“Live One”

Chloë 008

Various Artists

Beirut-Ystad

Olof Bright Editions OBCD 16-17

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

February 19, 2008

Various Artists

Beirut-Ystad
Olof Bright Editions OBCD 16-17

MAWJA

Studio One

Al Maslakh Recordings MSLKH 07

MAWJA

“Live One”

Chloë 008

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

February 19, 2008

MAWJA

“Live One”
Chloë 008

MAWJA

Studio One

Al Maslakh Recordings MSLKH 07

Various Artists

Beirut-Ystad

Olof Bright Editions OBCD 16-17

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

February 19, 2008

MAWJA

Studio One
Al Maslakh Recordings MSLKH 07

MAWJA

“Live One”

Chloë 008

Various Artists

Beirut-Ystad

Olof Bright Editions OBCD 16-17

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

September 18, 2005

Rouba3i5

Rouba3i5
Al Maslakh

Mazen Kerbaj and Franz Hautzinger
Abu Tarek
Creative Sources

Franz Hautzinger
Franz Hautzinger's Oriental Space
Artonal

By Ken Waxman
September 18, 2005

Unbeknownst to most, over the past few years Lebanese players have quietly put together the only improvised music scene in the Middle East outside of Israel. Known as the most sophisticated of Arab nations before the disastrous civil war of 1975 to1990 and despite recent political instability, Lebanon is still open to outside influences and that's how a small group of questing players first discovered Free Music a few years ago. MORE

September 7, 2005

Multiphonics in the Middle East

Taking stock of Lebanon’s Improv scene
From CODA Issue 323

By Ken Waxman

“I was born the same year of the Lebanese war, and I lived in it until its end and in fact I’m more and more convinced that there’s a close relation between it and my kind of playing today,” explains Beirut-based trumpeter Mazen Kerbaj, 30. “A lot of my passion for this music [Free Jazz] comes from my childhood, it reminds me unconsciously of the soundscapes of bombs and rifles that filled my ears during my childhood.”

War and bombs aside, the CD that so affected Kerbaj and his friends and introduced them to Free Jazz, was Peter Brötzmann’s Machine Gun, complete with its war-like cover. This initiation soon led to he and other like-minded players amassing as many Free Improv CDs as they could by the likes of Evan Parker and Charlie Haden. MORE