MICHEL REDOLFI / ANDRÉ JAUME – Hardscore (Côte D'Azur / LP-1981...?)

Label: Côte D'Azur ‎– CDA 02
Format: Vinyl, LP, Album / Country: France / Released: 1981
Style: Free Jazz, Musique Concrète, Experimental
Recorded and Mixed by Michel Redolfi in Marseille at GMEM Studios.
Artwork / Re-Design By [Cover Design] – V. Salvarica
Photography – Bragoni, Canavaggio, Pajot
Recorded By, Mixed By – Michel Redolfi
Producer – Philippe Conrath
Executive Producer – D. Buscail, Ph. Caviglio
Composed By – André Jaume / Michel Redolfi
Matrix / Runout (Side A): CDA 02 A- I
Matrix / Runout (Side B): CDA 02 B-II

side 1
A1 - André Jaume – Cupabia .................................................................................. 10:15
                                  part 1 Asciuma
                                  part 2 Ventitellu
                                  part 3 Timporale

A2 - André Jaume – Opalescence ........................................................................... 4:45
A3 - André Jaume – Ballade Pour Hector ................................................................ 4:42

side 2
B1 - Michel Redolfi – Naissance Et Agonie De Ma Lampe De Chevet .................... 9:45
B2 - Michel Redolfi – Hardscore ............................................................................. 10:37
                                   (text by – Lanie Goodman)

Personnel:
André Jaume – bass larinet / tenor saxophone
Michel Redolfi – synthesizer [synclavier digital synthesizer]
Jean-Marc Montera – guitar
Jacques Diennet – keyboards
Frank Royon Le Mée – vocals

Much more known for his aquatic electroacoustic environments including albums for that genre's landmark Ina/GRM imprint, it seems Michel Redolfi's association with the largely free music-focused imprint Hat Hut which issued his first album had the knock-on effect of bringing him together with both sax and clarinet improvisor Jaume (whose CV includes recordings with Joe Mcphee, Raymond Boni and Charlie Mariano) and the passel of improvisors more readily associated with the label during the early 80's, including guitarist Marc Montera and second keyboardist Jacques Diennet, who'd later join forces again for Diennet's 1987 Hat Hut-issued LP boxset Mante, though Hardscore itself wasn't actually issued on that label.

Jaume's compositions comprise side A, Redolfi's side B, though both appear throughout. The Jaume-penned outing on side A is splendid: a rambunctious and splutteringly digestive cartoonish sound clash akin to that deployed by the Un Drame Musical Instantane/GRRR crew that pits Jaume's bass clarinet and tenor sax against playfully gurgling atmospheres from Redolfi which are then cross-hatched and perforated by the fits and spits emitted from guitarist Jean-Marc Montera, second keyboardist Jacques Diennet and vocalist Frank Royon Le Mee. Redolfi's two B-side compositions are things of confounding beauty, stepping away from his understood identity far more than the surges of Michel Waisvisz-like free synth splatter that be brings to bear on Jaume behalf on the A Side. On Naissance Et Agonie De Ma Lampe De Chevet, Redolfi sticks to a background scrim of droning coloration while Frank Royon Le Mee and Jaume use clarinets, sax, delicate acoustic guitar and and vocals of bird-like delicacy and sensitivity to evoke a ritualistic summoning on the spirits, while the title track teases a candy floss of atonal synthetic unguent around Jaume's moist emissions 'til they both explode in a polyphonically saturated and tonally ripe burst of synthetically smeared sax love.

(Review By VDOANDSOUND)

This two-part suite is actually a hidden gem of rogue Acoustic-Electronic interplay & tight, blocky Concrète moves, heavily featuring Redolfi's Synclavier interjections.

If you find it, buy this album!

FRANCIOLI / BOVARD – Musique (2LP-1984 / Plainisphare – PL 1267/11-12)

Label: Plainisphare – PL 1267/11-12

Format: 2 × Vinyl, LP, Album / Country: Switzerland / Released: 1984

Style: Contemporary Jazz, Free Improvisation

Recorded live, Lausanne July 21, 1984, Switzerland.

Photo  Couverture – Alain  Doneri

Photo  Interieure – Philippe Ungricht

Graphisme – Oliver Clerc

PRISE  DE  SON  RADIO  ''L''

Matrix / Runout (Runout Groove Side A): PL 1267/11-A

Matrix / Runout (Runout Groove Side B): PL 1267/11-B

Matrix / Runout (Runout Groove Side A): PL 1267/12-C

Matrix / Runout (Runout Groove Side B): PL 1267/12-D

A - "Musique'' .................................................................................................... 27:00

B - "Musique'' .................................................................................................... 19:20

C - "Musique'' .................................................................................................... 19:00

D - "Musique'' .................................................................................................... 11:40

Composed By – Jean-Francois Bovard, Léon Francioli

Personnel:

ANDRÉ  JAUME  –  soprano saxophone / tenor saxophone / clarinet / bass clarinet

DANIEL  BOURQUIN  –  soprano saxophone / alto saxophone / baritone saxophone

DANIEL  MARGOT  –  oboe / cornet [cornet anglais]  / soprano saxophone

DIDIER  HATT  –  trumpet / bugle / tuba

MARIO  ALBERTI  –  trumpets / bugle

ANDRE  BERTHOLET  –  trumpet / bugle

JEAN-FRANÇOIS  BOVARD  –  trombone

RUNO  ERICKSSON  –  bass trombone

WALTER  HEYNA  –  cornet

LÉON  FRANCIOLI  –  contrabass / piano

OLIVER  CLERC  –  drums / percussion

RAOUL  ESMERODE  –  xylophone / drums / percussion

JACQUES  DITISHEIM  –  vibraphone / timbales / percussion

Francioli-Bovard ‎– "Musique" / 2LP (Plainisphare ‎– PL 1267/11-12 ) Switzerland 1984

Original Swiss pressing / _________ Out Of Stock __ / never on a CD.

E  N  J  O  Y  !!!

If you find it, buy this album!

JOE McPHEE – Old Eyes (LP-1980)

Label: hat Hut Records – hat Hut ONE (1R01)

Format: Vinyl, LP, Album / Country: Switzerland / Released: 1980

Style: Free Jazz, Free Improvisation

Recorded by Jef Gilson in Paris on May 30, 1979.

Photo by – Ken Brunton

Cover art by – Klaus Baumgärtner

Engineer – Jef Gilson

Mixed By – Peter Pfister

A1  -  Eroc Tinu .............................................................. 4:00

          Land Dance ..... (12:45)

A2a - P / G / G ................................................................ 3:02

A2b - BCL / Cello ............................................................ 3:16

A2c - B / DM .................................................................... 3:11

A2d - TS / TS .................................................................. 3:22

A3  -  Old Eyes ................................................................ 8:50

B1  -  Django ................................................................. 14:25

B2  -  No Line .................................................................. 3:05

B3  -  Strings ................................................................... 7:10

Joe McPhee – alto / tenor saxophone

André Jaume – tenor saxophone, bass clarinet

Raymond Boni – acoustic and electric guitars

Steve Gnitka – electric guitars

Jean-Charles Capon – cello

Pierre-Yves Sorin – bass

Milo Fine – piano and drums

Old Eyes is an album by multi-instrumentalist and composer Joe McPhee, recorded in 1979 and first released on the Swedish HatHut label in 1980.

 "I've always intentionally kept a low profile. I think the music goes where it has to go anyway, so I'm not going to run around in circles and scream. In America, everybody's looking for the latest revelation on the scene : who'll be the new Bird ? Who's going to replace Trane? As for me, anyway, I'm not new."

(~ Joe McPhee, from Down Beat, 1991)

END AT THE BEGINNING - BEGINNING AT THE END

PO MUSIC HAS NO CANVAS OR MODEL OR PALLET

NO PENCIL PAPER OR STORY

NO KNOWLEDGE MEMORY OR WISDOM

PO MUSIC LISTENS TO SILENCE

EXPANDING IN UNISON

CONTRACTING IN COLORS

PO MUSIC HAS HARMONY IN THE MUSICIANS

TASTES GOOD

AND FLOATS UPSIDE DOWN IN AFTER-GLOW

PO MUSIC HAS INSTRUMENTALITY

AND USES IT

LEADING AND FOLLOWING AT THE SAME TIME

(~ Joe McPhee, 1981, from the Liner Notes to: Joe McPhee Po Music - Linear B, hat ART CD 6057, 1991)

 André Jaume / Joe McPhee

The decade 1981 - 1991 marked the most productive and satisfying period in my music career. Yet mysteriously it remains the least documented in terms of recordings. The Cycle began with the recording of TOPOLOGY March 24, 1981 and ended with a multi-media performance of a work entitled HAZEL'S DINER on March 23, 1991. Many performances were given in each of the inclusive years, but to this date only three recordings, exclusively on hat Hut Records, document this period: TOPOLOGY (1981), OLEO (1982), and MYSTERIES/LINEAR B (1990).

Beginning at the beginning is to introduce two important musicians who have most directly influenced my work since our meeting in 1979, saxophonist André Jaume and guitarist Raymond Boni. The ocassion was the Paris session OLD EYES. From that moment a bond of friendship support and collaboration was formed which has shaped the entire body of my work to this day. Although not literally in the PO MUSIC series the roots of the concept can be traced to OLD EYES and is reflected in the final 1990 Zurich sessions which produced MYSTERIES/LINEAR B. Coincidentally OLD EYES, TOPOLOGY, and MYSTERIES/LINEAR B are further linked by the fact that all are studio dates, all feature large ensembles, and all include the rare use of percussionists (Mile Fine, Pierre Favre, Fritz Hauser). Each also includes the trio Boni-Jaume-McPhee at the core of its unifying structure. The trio continues today as a separate entity building on the strength of our relationship.

Beginning at the end, many important personal lessons were learned from the various experiences associated with the PO MUSIC loop/cycle. PO is after all only a language indicator, and the use of provocation to discover new ideas has always been the point. Also, it was always my intention that one day the concept would be clear enough that the word MUSIC in association with my work would make language indicators unnecessary.

(~ Joe McPhee, Pooughkeepsie, NY, July 6, 1991)

The "Old Eyes" sessions in May 1979 in Paris by the way were taken up by Jef Gilson. The big highlight for me is "Django", by far the longest piece. "Old Eyes" himself (the second longest and next to "Strings", the third, which lasts longer than three to four minutes) is actually dedicated to Ornette Coleman, "with much respect and gratitude. The title comes from a term I once heard a psychic use to describe someone who Carried the look of past ages of tradition in his eyes. "

(~ McPhee, liner notes to hat ART 6057 or 6047 hat ART)

Enjoy !

If you find it, buy this album!

ANDRÉ JAUME – Musique Pour 8: L'Oc (1 LP + 1 Single) / 1982

Label: hat ART – hat ART 1989/90

Format: Vinyl, LP, Album + Vinyl, 7", Single

Country: Switzerland / Released: 1982

Style: Free Jazz, Free Improvisation

Recorded on October 1 and 2, 1981, at Foundation Artist' House Boswil/Switzerland.

Photography – Henk Kahlé

Producer – Pia & Werner X. Uehlinger

Recorded By – Peter Pfister

A1 - Blue Note . . . . . . . . . . 4:21

         tenor sax – André Jaume

A2 - Barqueroute . . . . . . . . . . 5:51

         flugelhorn – Jean-François Canape

         tenor sax – André Jaume / trombone – Yves Robert

A3 - L'Oc . . . . . . . . . . 6:47

         bass – François Mechali

         cello – Heiner Thym, Michael Overhage

B1 - Theme For Joe . . . . . . . . . . 4:42

         flute – André Jaume

B2 - Cézanne . . . . . . . . . . 5:03

         bass – François Mechali

         flugelhorn – Jean-François Canape / tenor Sax – André Jaume

B3 - Ballade . . . . . . . . . . 5:43

         cello – Michael Overhage

         flugelhorn – Jean-François Canape / tenor sax – André Jaume

Single 45 RPM:

C  -  Clin D’œil . . . . . . . . . . 4:32

         bass – François Mechali / tenor sax – André Jaume

D  -  Fanfare . . . . . . . . . . 4:22

         percussion – Gérard Siracusa

+

2 bonus tracks: Musique Pour 8: L'Oc

(CD-1990) / hat ART – hat ART CD 6058

E (bonus track) - St. Jean . . . . . . . . . . 5:56

F (bonus track) - Zazize . . . . . . . . . . 7:25

André Jaume – tenor sax, flute, composed

Yves Robert – trombone

Jacques Veillé – bass trombone

Jean-François Canape – trumpet, flugelhorn

François Mechali – bass

Heiner Thym – cello

Michael Overhage – cello

Gerard Siracusa – percussion, drums

André Jaume's Musique Pour 8 is as ambitious a work as he has ever attempted. For octet, he has chosen to explore the relationships of the group to the individual, harmony to dissonance, timbre to meter, ensemble charts to free improvisation -- and all the colors of the musical palette. Using a group he culled together based on his fancy rather than any previous playing relationships creates a prismatic approach to Jaume's compositions. Unlike most of the Europeans, his work (especially in the avant-garde) refuses to dismiss itself from traditions musical and otherwise: Jaume's obsessions with visual art and poetry are evidenced here not as support mechanisms, but as inspirations. His "Ballade" touches on the melancholy of the Mallarme poem of the same name; "Cezanne" engages timbre -- especially in his tenor solo and in Canape's flügelhorn moment -- in a manner that highlights the vibrational nature of color and texture, much like the painter's flattened yet nonetheless shimmering canvasses. And musically, in "L'Oc," listeners can hear the tension and restraint evident in composer Darius Milhaud's later work for strings -- especially his last quartet. The influences of arrangers and texturalists such as Stan Kenton and Jimmy Giuffre can also be heard in "Blue Note" and "Theme for Joe." Jaume makes such a case for his own composition on this album that it's difficult to fault him. His titles are as free and open as his bandleading, allowing the individual musicians to ink the page indelibly with their own stamps. Jaume is truly one of the great European artists who, like Franz Koglmann, understands the importance not only of tradition, but of nuance and elegance, in the presentation of anything -- whether it be groundbreaking improvisation or beautifully composed vignettes and themes. Musique Pour 8: L'Oc is a treasure from an underappreciated master of form, style, and content.

Review by Thom Jurek

If you find it, buy this album!