Reviews that mention Jean-Marc Foussat

July 4, 2019

Urs Leimgruber & Jean-Marc Foussat

Face to Face
Fou Records FR CD 32/33

Two adept sound sculptors meet for the first time in concert one-on-one for a two CD set of enlightened improvisations where the unfolding extended process is as crucial as the consequence. Old hands at this sort of situation, Frenchman Jean Marc Foussat who uses an AKS synthesizer and his processed voice, and Swiss soprano and tenor saxophonist Urs Leimgruber, have been involved in equivalent textural configuration with many other players, most notably Joëlle Léandre. During the individual 40-minute-plus creations which make up Face to Face it doesn’t much matter that one set of instruments is electronic and the other acoustic. If anything Leimgruber’s fluency with usual techniques is as profound as his partners’ synthesized wave form originality. MORE

November 6, 2018

Pavillon Rouge

Solution n⸰5
LFDS Records LFDS 006

Okkyung Lee

Cheol-Kkot-Sae [Steel.Flower.Bird]

Tzadik TZ 4923

Big Bold Back Bone

In Search of the Emerging Species

Shhpuma SSH 032 CD

The Cluttertones

Leeway

SnailBongBong SBB 005

Elliott Sharp’s Carbon

Transmigration at the Solar Max

Intakt CD 311

Something in the Air: Eclectic: Electronics stretches the definition of Innovative Music

By Ken Waxman MORE

September 11, 2018

The Clifford Thornton Memorial Quartet

Sweet Oranges
NotTwo MW 971-2

Quentin Rollet/Jean-Marc Foussat/Christian Rollet

Entrée des Pays de grête

Bisou Records BIS-007 U/Fou Records CD 30

Paris-based Jean-Marc Foussat bifurcated career is half dedicated to his skillful recording of major French exploratory musicians such as bassist Joëlle Léandre , while the remainder of his time is taken up using his analogue AKS synthesizer to add to the creative sounds produced by sympathetic associates. Each of these CDs takes advantage of his dual personality, and such is the architecture of the sessions that each of his talents is used fruitfully. MORE

September 11, 2018

Quentin Rollet/Jean-Marc Foussat/Christian Rollet

Entrée des Pays de grête
Bisou Records BIS-007 U/Fou Records CD 30

The Clifford Thornton Memorial Quartet

Sweet Oranges

NotTwo MW 971-2

Paris-based Jean-Marc Foussat bifurcated career is half dedicated to his skillful recording of major French exploratory musicians such as bassist Joëlle Léandre , while the remainder of his time is taken up using his analogue AKS synthesizer to add to the creative sounds produced by sympathetic associates. Each of these CDs takes advantage of his dual personality, and such is the architecture of the sessions that each of his talents is used fruitfully. MORE

April 12, 2018

João Camões, Jean-Luc Cappozzo, Jean-Marc Foussat

Autres Paysages
Clean Feed CF 456 CD

Salmon/Mezei/Succi

Free Sessions Vol. 1: Planets of Kei

NotTwo MW 964-2

Often the butt of cruel jokes, especially by other string players – sample: What's another name for viola auditions? Scratch lottery – improvisers have found that the instrument is well suited to Free Music. That’s because the viola’s underdog status in the orchestral repertoire makes it relatively unencumbered by inflexible historical antecedents. Furthermore its protean textures, with echoes of violin, cello and guitar endow it with the ability for dexterous expression(s). These trio sessions feature two alto-fiddle players who made good use of the viola’s chameleon-like sound. Interestingly neither’s strategy resembles that of the other’s. MORE

May 17, 2016

Jean-Marc Foussat & Jean-Luc Petit

…Doù Vient La Lumière!
Fou Records FR-CD 13

Made to Break

Before the Code

Trost TR 141

KNU!

My Horse Doesn’t Give a Shit

Unit Records UTR 46089

Granularties

Scenes From A Trialogue

Amirani Records AMRN 045

Made to Break

Before the Code

Trost TR 141

KNU!

My Horse Doesn’t Give a Shit

Unit Records UTR 46089

Something In The Air: Matching Electronic and Acoustic Improvisation
MORE

March 17, 2016

João Camões/Jean-Marc Foussat/Claude Parle

Bien Mental
Fou Records FR-CD 12

Koch-Kocher-Badrutt

Koch-Kocher-Badrutt

Bruit No #

Like fusion cooking which mixes traditional and novel ingredients into a toothsome repast, the European trios here have worked out improvisational strategies that link traditional acoustic and contemporary electronic instruments. Perhaps as well, due to Mediterranean-focused people’s celebration of delectable meals, is why Bien Mental, served up by two French and Portuguese players is more piquantly appetizing than the single portion of austere improvisation from three Swiss musicians on the other CD. Sill, in the same manner that a holistic vegetarian meal can be enjoyed as much as a calorie-laden steak banquet, there’s much to recommend each menu, MORE

July 17, 2014

Foussat, Guérineau & McPhee

Quod
Fou Records FR-CD 05

Tusques/Grimal/Guerineau

La Jungle du Douquanier Rousseau

Improvising Beings IB 24

All types of creative music are populated with unsung heroes, no more so than Free Jazz. Never a popular exercise, experimental improvising by definition has attracted those who value discovery over fortune and fame and are unafraid to be mocked for not taking easier, better-paying path. Someone who is gifted with enough intestinal fortitude to stay true to himself is tenor saxophonist Sylvain Guérineau, 67, who lives in a Paris suburb and is also a painter and teacher. Someone whose initial recorded efforts were in the company of Free Jazz legends such as drummer Sunny Murray, trumpeter Jac Berrocal and others, since the millennium he’s often recorded with Paris-based engineers/electronics whiz Jean-Marc Foussat as well, as with younger sound experimenters such as Bordeaux percussionist Didier Lasserre. MORE

January 11, 2013

Akchoté/Foussat/Turner

Acid Rain
Ayler Records AYLCD -128

ET

Labor

Creative Sources CS 206 CD

Events often move so quickly in 21st Century music that the electronic manipulators featured on these fine European sessions can be considered throw-backs because both insist on using analog devices, many of them DIY. Yet the key to exultant Free Music is its adaptability. The ET duo for instance pairs these primitive electronics with primordial percussion consisting of cast off junk, tools and found objects. Meanwhile the electronics on Acid Rain are paired with the 20th Century’s two most popular instruments – the electric guitar and the drum kit. In both cases the result is as mesmerizing as it is unique. 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

December 14, 2010

Jean-Marc Foussat/Sylvain Guérineau

Aliquid
Leo Records CD LR 551

Wade Matthews/Stéphane Rives

Arethusa

Another Timbre at20

Modulating the timbres produced by synthesizers and electronics with a saxophone’s authentic acoustic properties is the focus of these two CDs. Although superficially similar, the sometimes inchoate, sometimes illuminating, sonic results depend in great part on the initial conception behind the improvisations.

A sound designer and academic as well as a saxophonist, Madrid-based, French-born American Wade Matthews puts into practice theories on sound waves and sound reproduction he evolved over the years. French soprano saxophonist Stéphane Rives is one reedist experimenting with and redefining the textures associated with his horn. Recorded over a week’s time at Matthews’ Smiling Cow studio, the four untitled tracks here capture the strident extremes of the saxophonist’s textures further altered, expanded or contracted by Matthews’ synthesizer program, which includes sampled and manipulated field recordings. Despite – or perhaps because of – this prior-planning and technical expertise, there are frequent points where each player appears to be improvising in isolation. They may be in the same room or on the same track, but the division is almost palpable. MORE

March 8, 2010

Marteau Rouge & Evan Parker

Live
in situ IS 242

Devoting more than 40 years to painstaking developing an individual style doesn’t mean that British tenor saxophonist Evan Parker eschews new challenges and collaborations. Live is notable however, because without altering his distinctive reed patterns, Parker manages to seamlessly match his contributions to those of Paris-based Marteau Rouge. And that’s without upsetting the perceptive strategies members of the trio have developed during their years together.

Consisting of guitarist Jean-François Pauvros, whose chiming runs and twanging licks often cleave the line between rock and improv, and given direction by the unflappable drummer Makoto Sato, with cymbal rasps and mercurial backbeats, this trio interaction is further cemented by the quivering sine waves from Jean-Marc Foussat’s synthesizer. MORE