Axel Dörner is one of the most influential improvisers on the international scene. He developed a unique trumpet style, based on unusual techniques, often invented by himself. Eclectic musician, Antonin Gerbal has been developing for ten years a singular approach to rhythms and sounds, mainly on drums and percussions.
They have been working together for more than ten years in bands like Peeping Tom or as part of Denzler/Gerbal/Dörner trio, whose several recordings were released on the labels Umlaut and Confront. In duo, they develop a music taking its roots in different traditions to create a sound inhabited by bewitching rhythms processed in real time by a unique electro-acoustic system.
Photo : @Carina Khorkhordina
KINO-KONZERT– A great diversion of the Kino club by the Umlaut collective
Active member of the Curry Vavart collective for years, Derek Woofenden is a filmmaker who recently gave a conference on Larry Cohen at the Cinémathèque Française. Each month he shares the results of his thorough film research at the Kino Club, a series of rare film screenings that he has been organizing and hosting at the Shakirail for several years. Having seen a few of these screenings, Amaryllis Billet wanted to organize a great diversion of the Kino Club by the Umlaut collective. Not to do a cineconcert where the musicians play over the films, but to find a form where the strength of the images would be added to the instrumentalists’ sounds, where the soundtrack of the film might be a pretext for playing, and in return where the silent images would be distorted by the juxtaposed music.
Photo : @Hadrin Touret
REVE PARTI– Sweet tremor, continuous trance, moving night
Like a shiva operating the hammers of past and future dreams, the pianist Eve risser summons the electro dancefloors of the entire world in an irresistible piece composed for prepared upright piano. Loops, waves, hammers transformed in to a drum machine, percussive grooves. Embracing the interstellars effects of sound creator Adrian’ Bourget, Rêve Parti’s composition invites us, in its vessel made of wood, strings and electronics, on a tchik tchak springing journey. A sweet tremor, a continuous trance, a moving night.
Photo : @Sylvain Gripoix
SATURDAY APRIL 29 – 20h
WHO KNOWS MASSAQUEPAH ?– Joel Grip imagines and plays with Thelonious Monk
Another impossible task. To play Monk alone, without Monk. But a very interesting one, to be challenged by the tone and timing of hands no longer there by bringing in your own hands and the idea of playing with someone alone. Here lies the experimentation, imagining the necessity, presence and function of what was, in making it become. No one (at least known) knows more about Massapequah than his name and that he was the bassist playing in Monk’s first documented group in 1938. Who was he? How did they influence one-another? What happened to him? A solo is everything but a solitary work on time. You play with them, or play with the idea of something collective. Hence a question of personalities occurs. Monk is there, or at least the dream of him, Grip is there, at least physically, and then there are all the musicians who made up groups with Monk. How to communicate the organisation of a group, alone? A solo with Monk is like playing of bare necessity in effort of becoming plural, and being put on the spot through the timing and sound that had to dance, be played wrong to be played right etc. Henry Grimes put it well: “you have to duodify to bite”. And at least the bass has the quarter tones in common with Monk. In his spiritual and logical search for Massapequah, Joel Grip finds solutions of playing which are inspired from a multifold direction in the history of the bass. Apart from the more obvious connection to jazz history in general and the bassists of Monk in particular, important clues to his own sound are to be found in North African music, Dub, dance and poetry.
Photo : @Frederic Griffon
VÉLOCITÉS– A poly-tempo exploration
Karl Naegelen (composition), Pierre Borel (alto saxophone), Pierre-Antoine Badaroux (alto saxophone)
Karl Naegelen has been working for several years on a systematic exploration of rhythmic notions, drawing in this way an imaginary map of rhythm together with other artists. In Vélocités, he invites Pierre Borel and Pierre-Antoine Badaroux, two long-time musical partners, to pursue this exploration together through a research based on the complementarity of the two saxophones – a deployment of speeds that can generate acoustic illusions.
After many projects shared in common, following the happy propositions of chance, here is a duo purposely created to play together. Around written texts intended to be said and deformed, sounds and multiple possibilities, pulling each other to go for a stroll around our common loves: improvisation, the singing of possibilities, traditional musics, «professional deformations». The pleasure and desire to share the freewheels, to experiment everything at will, having the duo of you-ah all ouah to do wow da’whole duo of mine a duo of hair and animal skin.
Photo : @DR
WARSZAWSKO-LUBELSKA ORKIESTRA DĘTA – Polish festive brass band
Filip Majerowski (direction, tuba), Jędrzej Weber, Florian Wegelein (tuba), Katarzyna Krasuska (flute), Sébastien Beliah, Jakub Zimończyk, Michał Nowak (clarinet), Barbara Wajnchold, Leszek Kur, Michał Maziarz (tenor saxophones), Iwona Pawlak, Mirosława Wachowska-Nowak, Antoni Beksiak (alto saxophones), Piotr Lachowicz, Marcin Chrzanowski (trombone), Olga Kozieł, Magdalena Duda Szachowicz, Emmanuel Levy, Mikołaj Janowski, Karol Majerowski (trumpet), Wojciech Lubertowicz (baraban)
At the beginning, it is a matter of a disjointed then repaired dialogue between generations, between cultures, between musicians and their memories, between an orchestra and its dancers. When you’ve taken everything apart, lost a few parts, found others that weren’t there, tinkered with the missing ones, reassembled everything from memory because you’ve lost the plan, let’s see what happens.
But that’s only for the beginning…
Then everything will be focused on the dance. Without stylistic effect, the Warszawsko-Lubelska Orkiestra Dęta (aka WLOD) will continue playing, but this time the music that characterises it : festive musics. Polkas, tangos, foxtrots, oberks, waltz, get your fanciest shoes ready, invite your dance partners, and let’s meet on the dancefloor !
In this creation for four clarinets, Joris Rühl continues his investigations on this instrument that he likes pushing to its limits. Récifs is a piece that uses digital techniques to produce fast and fluid melodic-rhythmics sequences, from which emerge salient patterns. This landscape-piece is a play on the perceptions of emergence and disappearance, of static and moving, of solid and fluid, of blurred and clear.
Photo : @DR
SAGITTARIO CONSORT – Mixed passions
Pierre-Antoine Badaroux (alto saxophone), Félicie Bazelaire (double bass), Prune Bécheau (baroque violin), Richard Comte (electric guitar)
Gathered at the initiative of Pierre-Antoine Badaroux in 2021, Prune Bécheau, Félicie Bazelaire and Richard Comte collaborated on the musical and theatrical writing of Baùbo – the art of not being dead, directed by Jeanne Candel. Long before the first stage rehearsals, the musicians exchanged and experimented with the music of Heinrich Schütz (1585-1672), a great composer, who crossed styles and traditions beyond borders. Through their experimentations, they imagined alterations in the relationship to the musical text, rather than the text itself. The idea here is to associate to an ancient notation a form of deciphering that only belongs to the band, in order to render a music that paradoxically frees itself from aging precisely thanks to its great age.
Photo : @Jean-Louis Fernandez
BOREL VS GRIP– Sound boxing match with quadruple chaos
Joel Grip (gloves, double bass), Pierre Borel (gloves, saxophone), Jean-Luc Guionnet (turntable), Lotus Eddé-Khouri (dance)
It is the release of Herr Borelgrip’s vinyle (The Great European Stool Sample) three years later. It will be a boxing match : Borel versus Grip. Jean-Luc Guionnet will DJ the Herr Borelgrip’s vinyls and the text he wrote for the vinyle booklet. Lotus Eddé Khouri will be the cheerleader. It is a match until exhaustion where all the blows are allowed. Possibility to use sound knock outs.
Photo : @DR
An Umlaut production, in partnership with Le Shakirail.
With the support of DRAC Ile-de-France, Mairie du 18e, Maison de la Musique Contemporaine, Spedidam and Sacem.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.