JEAN GUÉRIN – Tacet (SouffleContinu Records / LP-1971 / Reissue LP-2015)

Label: SouffleContinu Records – FFL009, Futura Records ‎– SON 04

Format: Vinyl, LP, 45 RPM, Reissue / Country: France / Released: Sep 2015

Style: Free Jazz, Leftfield, Abstract, Experimental, Space-Age

Recorded January 1971 at Ossian & Magne Studios.

Overdubs and mixing at Europasonor.

Licensed by Gérard Terronès

Mixed By – Charles Rocher, Claude Martenot, Daniel Naudin, Jean Guérin

Sleeve Notes – Philippe Carles

Photos – Hilary Gostinsky

Composed By – Jean Guérin

Matrix / Runout: No identifiers

Barcode: 3491570051221

Limited run of 200 / pressed on solid grey vinyl

©2015 SouffleContinu Records / originally released in 1970 by Futura Records.

Although the label says 33rpm, it has to be played at 45rpm

side A

A1 - Triptik 2 ........................................................................................................ 5:42

A2 - Mixage Vert .................................................................................................. 3:49

A3 - Maochat ....................................................................................................... 4:40

A4 - Ca Va Lecomte ............................................................................................ 4:52

side B

B1 - BM 37 .......................................................................................................... 1:57

B2 - Interminable Hommage À Zaza ................................................................... 4:41

B3 - Reflexion 2 ................................................................................................... 5:06

B4 - Gaub 71 ....................................................................................................... 8:17

Line-up / Musicians:

Jean Guérin – electric bass, goblet drum [darbouka], electronics [vcs3, generator],

                        percussion, vocals [gloup tenor], drums [electronic]

Bernard Vitet – trumpet [water trumpet]

Jean Paul Rondepierre – trumpet

Philippe Maté – tenor saxophone

Dieter Guévissler – double bass, cello [violon]

Françoise Achard – vocals [gloup vocal]

Fourth in a reissue series of the cult French underground Futura label.

Highly surreal and wonderfully futuristic, “Tacet”, one of the best kept secrets of the Futura catalogue is the soundtrack work of Jean Guérin for Claude Faraldo's anarchic film "BOF, anatomie d’un livreur". This avant-garde psychedelic jazz masterpiece is a blend of abstract vocals, unusual electronics, twisted sound envelopes and nervous brass instruments.

First official vinyl reissue in over 40 years fully licenced by Gérard Teronnès. Easily one of the finest archival discoveries of the year. 

Housed in gatefold jacket, but unfortunately, ______SOLD OUT___

https://www.soufflecontinurecords.com/product/jean-guerin-tacet-ffl009-son04-grey

The French never cease to amaze and confound! Jean Guérin was mostly known as a drummer, appearing on quite a few free jazz sessions. For this, his only solo outing, he set out to make a soundtrack to a film (by Claude Faraldo) called "BOF, anatomie d'un livreur". The soundtrack was released as "Tacet" on the cult Futura label (also known for putting out records by Red Noise, Mahogany Brain, Chene Noir, Jac Berrocal, Bernard Vitet) for the legendary "SON" series. His choice of musicians is absolutely impeccable; notable figures of the French scene like Bernard Vitet and Philippe Maté contribute their talents. Vitet even plays "underwater trumpet"! Guérin himself takes up a lot of instruments, from electric bass to darbouka to VCS3 and sound generators. Overall, "Tacet" is full of strange sounds and even stranger arrangements. Françoise Achard (of Jac Berrocal "Parallels" and Michel Potage "Occupe" fame) contributes wordless vocals to several tracks, and most of the time her voice sounds like another instrument rather than a human being. The use of both contrabass and electric bass on some tracks provides an interesting sound, considering the electric bass is treated to sound nothing like it should (this isn't a bad thing!). It's hard to pick out standout tracks, since this all flows together perfectly and is best experienced all the way through. The first and last tracks, "Triptik 2" and "Gaub 71" respectively, both feature the same fast rhythm (which sounds like a mix of darbouka and primitive drum machine), but otherwise are different entities. "Gaub 71" is the more experimental of the two, with a constantly evolving structure over its eight minutes. "Triptik 2" is punctuated with the trumpets of Jean Paul Rondepierre and Vitet, and Maté contrubutes his saxophone. This is the closest that "Tacet" comes to jazz, as the remaining tracks are pure explorations of sound, somewhere between free jazz and the cosmic explorations of Kluster et all.

The music on "Tacet" is much more closely related to Herbie Hancock´s Mwandishi sextet - not rhythmically but sonically; incidentally, Patrick Gleason participated in the recordings of "Tacet". One can imagine Gleason to have played this recent recording to Herbie Hancock before they went to the studio to record Herbie´s new music. "Tacet" was recorded before Hancock´s Mwandishi albums! It doesn´t make those LPs less spectacular, but somehow it puts things in a different light. I had always thought that Herbie had been the pioneer launching himself and me into a musical parallel universe with "Mwandishi, Crossings" and "Sextant", and nobody followed on that path. Only Miles Davis and Weather Report occasionally recorded some kind of psychedelic Jazz and only for a short time: Miles went silent in ´75 and Weather Report went into fusion and that was that. German psychedelica such as Tangerine Dream, Popol Vuh or Klaus Schulze pale into insignificance by comparison to "Tacet". Nothing quite like it - the closest comparison I can come up with is the free-jazz-in-a-reverberating-echo-chamber sound of Sun Ra's "Cosmic Tones for Mental Therapy" combined with the extraterrestrial electronic experiments of Pierre Henry, throw in some absurdist vocals, and ... I don't know. It's so odd. But then in all comes together in an entrancing future-primitive vibe, with bubbling water sounds, mysterious echoey effects and hypnotic rhythms (and non-rhythms).........................

If you want truly unique music, this is it! Truly an obscure masterpiece!!!

(Review by V. S.)

If you find it, buy this album!

MICHEL PORTAL – À Chateauvallon - No, No But It May Be (Michel Portal Unit) LP-1973-Le Chant Du Monde - LDX 74526

Label: Le Chant Du Monde – LDX 74526

Format: Vinyl, LP, Album, Repress, Gatefold / Country: France / Released: 1973

Style: Free Jazz, Contemporary Jazz, Free Improvisation

Recorded live at Châteauvallon, August 23, 1972.

Design – Henri Galeron

Photography By – Guy Le Querrec

Engineer – Bruno Menny, Jean-Bernard Plé

Supervised By [Recording] – André Francis

Executive Producer – Daniel Richard

Matrix / Runout (Side A Label): XWG 74526 A

Matrix / Runout (Side B Label): XWG 74526 B

A - No, No, But It May Be ........................................................... 19:46

B - No, No, But It May Be (2e T.) ................................................ 24:30

Michel Portal: clarinets, bass, double bass, alto & sopranino sax, taragot

Bernard Vitet: trumpet, horn, violin

Léon Francioli:  double bass

Beb Guérin: double bass

Pierre Favre: percussions

Tamia: vocal

Rare LP, French Press only; this record : 271 grams + package weight : 250 grams

...One of the artists that incorporates that huge creative streak, goes by the name of Michel Portal and those who minimally know his music, are aware of his constant search for new sounds, taking advantage of his provocative attitude to motivate himself towards new horizons...
In the autumn of 1973 by the Chant du Monde, the concert Michel Portal Unit to À Châteauvallon upset many minds and inspired a generation of French musicians.

Michel Portal, born in 1935 (Bayonne, France) stands out as a composer, clarinetist and saxophonist, while several other instruments like the bandoneon (small accordion) are also part of his repertoire.

In addition to having studied clarinet at the Paris Conservatoire, he also studied conducting with Pierre Dervaux, which would give him a solid background for future projects.

The diversity (or dissatisfaction) is present over a considerable part of the career of this unusual artist. Apart from multi-instrumentalist, also when it comes to musical genres, Portal has whittled different ways throughout his extensive career.

His musical anarchist tendencies revealed in different ways: in the participations with Stockhausen in the late 60s, the award-winning movie soundtracks and the reference pieces of contemporary or classical music, such as the remarkable participation as soloist in “Domaines” of Pierre Boulez.

But despite his artistic diversity, one of the labels he cannot get rid of, is the “father of the French modern jazz”, being considered by many as one of the architects of modern jazz and improvised music in the old continent. This reputable title comes from the fact that he participated in the initial phase of the free jazz movement in France (late 60’s) with musicians such as François Tusques, Bernard Vitet or Sunny Murray.

With the aim of promoting instant composition and collective improvisation, Portal still formed the “New Phonic Art” (1969) and developed a strong partnership with John Surman (first record of the Michel Portal Unit, created in 1971). 

“No, no but it maybe” was recorded in Chateauvallon on August 23, 1972 during a live performance. The recording by ORTF (Office de Télévision Française Radiodiffusion) had its first edition by the extinct “Chant du Monde”.

This session of about 45 minutes of pure listening pleasure, has no line-up or separation of tracks; only the magic of improvised music interpreted with great mastery.

Despite this excellent work having on the soils of Michel Portal and Bernard Vitet (who died on July 3, 2013) the main protagonists, the other elements of this group have an equally important contribution in creating pieces of great richness.

The first part presents us a deep atmosphere, marked by the rhythm of the bass and the interventions of Portal and Vitet on the reeds and horns. The percussion (Pierre Favre) and the double-bass with bow (Beb Guerin, Léon Francioli) also join this exclusive creation, conveying the idea of a natural atmosphere that grows in rhythmic intensity until its end.

The B side, in a something obscure and enigmatic line (with influences of movie soundtracks) includes a beautiful performance of targot (instrument of clarinet family) whose intriguing sounding triggers some vocal interventions (cries and whimpers) by way of incentive. While a tribal and theatrical sound develops in intensity, joins Tamia’s voice by way of scat-singing.

The instrumental diversity used throughout this session is extremely well coordinated, revealing the individual conscience of each element in favor of the collective sound, even in the case of an exercise of pure improvisation. Perhaps that’s why the name (Michel Portal) “Unit” makes some sense.

Given the difficulty in describing in words the result of this work, it is particularly important to hear it and feel it and therefore, no hesitation in recommending this work to all who are interested in the European free jazz movement.

With almost 80 years of age, Michel Portal continues active and although no longer recording with the regularity of the past, he continues to incorporate in his music a contagious energy. His last works alternate between Jazz (Bailador, 2010) and interpretations of classical composers like Mozart or Brahms. As for his next work, nobody knows, but will certainly have the stamp of innovation and excellence that this great artist has used throughout his career of over 45 years.

Absolument génial, Monsieur Portal!

Review by Mister W

Text taken from:

http://thejazzspot.tumblr.com/post/96501010638/michel-portal-unit-%C3%A0-chateauvallon-no-no-but

I thank Mister W.

If you find it, buy this album!

PGP RTB – Sastanak U Studiju (Meeting In Studio) - I / II / III (3LPs-1960/1961)

PGP RTB - Sastanak U Studiju (Meeting In Studio) - LP-1960

Jerome Richardson / Boško Petrović And Others

Label: PGP RTB – LP 401

Format: Vinyl, 10 inch, Album / Country: Yugoslavia

Released: 1960

Style: Hard Bop, Improvisation

Recorded in RTB Studio VI, Belgrade, 16 June 1960, Yugoslavia

Reviewer – Svetolik Jakovljević

Responsible Editor – Stanko Terzić

A1 - Dve Pesme (Two Songs) ................................ 6:37

        (By – Julius Watkins)

A2 - Zašto U Bluzu (Way In Blues) ........................ 6:22

        (By – Jerome Richardson)

B1 - Nežna Flauta (Minor Flute) ............................. 7:39

        (By – Jerome Richardson)

B2 - Noć U Tunisu (Night In Tunisia) ...................... 5:40

        (By – Dizzy Gillespie)

Jerome Richardson – tenor sax, flute

Julius Watkins – french horn

Boško Petrović – vibraphone

Davor Kajfeš – piano

George "Buddy" Catlett – bass

Joe Harris – drums, percussion

PGP RTB - II Sastanak U Studiju (II Meeting In Studio) - LP-1961

Jack Dieval And His Quartet with E. Sadjil & P. Ivanović

Label: PGP RTB – LP 406

Format: Vinyl, 10 inch, LP, Album / Country: Yugoslavia

Released: 1961

Style: Hard Bop, Improvisation

Recorded in RTB Studio VI, Belgrade, 1961, 4-5 March, Yugoslavia

Reviewer – Svetolik Jakovljević

Responsible Editor – Stanko Terzić

Jack Dieval And His Quartet with Eduard Sadjil and Predrag Ivanović

A1- Novčići S Neba (Coins From Heaven) .................................. 6:42

        tenor saxophone – Sadjil / trumpet – Predrag Ivanović

        (written-by – Johnston, Burke)

A2 - Mesečina U Vermontu (Moonlight In Vermont) .................. 2:53

         trumpet [solo] – Predrag Ivanović

A3 - Gloria .................................................................................... 2:45

         tenor saxophone [Solo] – Eduard Sadjil

         (written-By – René Miselvia)

Jack Dieval And His Quartet In Belgrade

B1 - Tema Br. 4 ............................................................................ 5:06

         (by – Aleksandar Nećak)

B2 - Moj Rodni Kraj (My Birthplace) .......................................... 5:24

         (written-by – Ivo Robić)

B3 - Srećan Put (Have A Nice Trip) ............................................. 4:08

         (written-By – Milan Kotlić)

Jack Dieval – piano

François Jeanneau – tenor sax

Bernard Vitet – flugelhorn

Jackues Hess – bass

Art Taylor – drums

Predrag Ivanović – trumpet

Eduard Sadjil – tenor sax

PGP RTB - III Sastanak U Studiju (III Meeting In Studio) - LP-1961

Trio Borislav Roković with His Guests

Label: PGP RTB – LP 408

Format: Vinyl, 10 inch, LP, Album / Country: Yugoslavia

Released: 1961

Style: Hard Bop, Improvisation

Recorded in RTB Studio VI, Belgrade, 1961, 14 & 15 June, Yugoslavia

Reviewer – Svetolik Jakovljević

Responsible Editor – Stanko Terzić

Trio Borislav Roković with Milan Stojanović and Vojislav Djonović

A1 - Ružan San (Bad Dream) .................................................................................... 5:20

         (written-by – B. Roković)

A2 - Tema Iz Prosjačke Opere (Theme From Beggar's Opera) ................................. 4:45

         (written-by – K. Weil)

A3 - You'd Be So Nice To Come Home (Hoćeš Li Biti Dobar Da Se Vratiš Kući) ..... 5:14

         (written-by – C. Porter)

Trio Borislav Roković

B1 - Bee-Deedle-Dee-Doo ......................................................................................... 4:35

         (written-by – B. Kessel)

B2 - The Midnight Sun Will Never Set (Ponoćno Sunce Nikad Neće Zaći) ............. 3:55

         (written-By – Q. Jones)

B3 - Donna Lee .......................................................................................................... 4:32

         (written-by – Ch. Parker)

Borislav Roković – piano

Joe Sydow – bass

Hans Hoitz – drums, percussion

Milan Stojanović – tenor sax, flute

Vojislav Djonović – guitar

The label (PGP RTB) has used oportunity to invite some foreign musicians during their visit to Belgrade to do a recording jam-session with a local jazz musicians and here are the results. All of them are now established names. Bosko Petrovic at that time was a student but was already leading his trio and Zagreb Jazz Quartet. Davor Kajfes was another member of ZJQ. All foreign guests this time came to Belgrade in 1960 with Quincy Jones band.

The most obscure group in this great 3-volume Meetings In Studio series -- a session that features work by an all-Eastern European jazz ensemble from 1961 -- Borislav Rokovic on piano, Joe Sydow on bass, Hans Hoitz on drums, Milan Stojanivic on tenor and flute, and Vojislav Djonovic on guitar. Tracks are short and tight -- nicely grooving in a laidback way that recalls some of the hipper RCA jazz sessions of the mid 50s.

Enjoy!

If you find it, buy this albums!