"Music is the cup that holds the wine of silence. Sound is that cup, but empty. Noise is that cup, but broken.”

Robert Fripp


"Le rôle de l'artiste créateur est de créer des lois, non pas de suivre celles qui sont déjà faites"
Ferruccio Busoni

"Go, go, go! ... Go! go! ..."
John Lee Hooker

26/05/2018

Kassé Mady Diabaté

 @ Habibou Kouyate / AFP

Le grand djeli (griot en langue Malinké) malien Kassé Mady Diabaté (photo: en avril 2016 à Bamako) nous a malheureusement quitté, à l'âge de 69 ans, il y a quelques jours. Cette grande voix mandingue ne cessera de nous manquer, perpétuant l'héritage de la culture mandingue et de ses aïeux musicaux.

L'écoute d'un de ses disques récents, "Kiriké", au côté de nos amis Ballaké Sissoko et Vincent Segal, n'a jamais cessé de me ravir. Franchement conseillé!
 
Sans oublier les formations dont il a fait partie, le formidable orchestre "Maravillas de Mali", devenu en 76 le "Badema national du Mali", et aussi bien sûr l'"Orchestre régional Super Mandé de Kangaba", "L'Orchestre instrumental du Mali", ni ses incursions au sein de "Songhaï 2", avec le groupe flamenco "Ketama", ou bien avec Taj Mahal et Toumani Diabaté


"L'homme à la voix de velours"


24/05/2018

1968: Destruction in Art Symposium

 
DIAS - London - 1966

Following the example of the "Destruction in Art Symposium" in 1966, activated by the artist Gustav Metzger in London, the artists John Hendricks and Ralph Ortiz organized the "Destruction in Art Symposium USA" in march 1968, in the Judson Gallery in New York.

 

Beside of the Hermann Nitsch's 27th action, Nam June Paik's piece "One for violin" (solo)" was performed by Charlotte Moorman. This performance consists to smash a violin on a table, but an incident happened as a visitor try to protect the violin by lying on the table, and so Charlotte Moorman smashed the instrument on the arms and the head of the visitor who suffered slight injury.

 

On April 4th, as reacting to the assassination of Martin Luther King Jr., the black civil rights champion and Nobel Peace price winner, the symposium was cut short.

 



about Charlotte Moorman, lot of her works on UbuWeb
& this video biography




***

for french language readers:
A signaler l'excellente "Brève histoire des destructions musicales" par Matthieu Saladin
publiée en plusieurs épisodes dans le magazine Revue et Corrigée 
de mars 2013 - N°95 jusqu'à décembre 2015 - N°106.

***




19/05/2018

1968: Non consumiamo Marx

 
"Non consumiamo Marx" was composed by Luigi Nono in 1969.

Dedicated to Carlos Franqui, the revolutionary Cuban poet, this 18 minutes' piece for tape includes some audio recordings of the political boycott of the 1968's Venice Biennale.
Considered as a "fortress of bourgeois art" by invited artists and students who protested, this edition of the Biennale was seriously altered by contestations, galleries occupation and violent riot police confrontation.
Luigi Nono himself, as a member of the Central Committee of the Italian Communist Party, was part of this Biennale's boycott.


Outside of the french pavillion, the cybernetic artist Nicolas Schöffer wrote on a paper at the entrance : "Chiuso" and showed beside a picture of police charges during the Paris May protest.



The piece was premiered in France (Châtillon sous Bagneux) at "Fête de l’Huma" in 1969, the annual French Communist Party festival, where Nono was invited as a member of the Central Committee of the Italian Communist Party.



***


15/05/2018

Harsh & thrash


Glenn Branca, iconic figure of the avant-garde No Wave's scene in New-York, passed away this 13th of May at the age of 69.
He got his first  electric guitar after he listened "You really got me" by The Kinks, and  started later with the bands "Theoritical Girls" and "Static" in 1977.
After being part of the "Guitar trio" with Rhys Chatham and Nina Canal, in 1980, he composed several medium-length compositions for electric guitar ensembles,
 including "Lesson N°1", "The Ascension" & "Indeterminate activity of resultant masses"

"Glenn Branca's fire-breathing music is a turbulently successful mix of sonic pioneering and experimental melodics with rock-solid, butt-kicking guitar thrash..." 
Tristram Lozaw for BOSTON ROCK

Here, circa 1978, an amazing solo part of guitar

11/05/2018

1968: Towards an Ethic of Improvisation


The famous trio AMM was formed in 1965 by Lou Gare, Eddie Prévost and Keith Rowe. They were involved in the idea of free music , without any direct implication in any style (jazz, avant-garde, rock, classical...etc)
As well Christopher Hobbs who played with the trio, Cornelius Cardew joined the trio in 1966 (*). And in 1968, Christian Wolff joined briefly the band. Later, John Tilbury became a new partner.

Christopher Hobbes, Cornelius Cardew, Christian Wolff
London, International Students Center, 1968

In 68, Cardew wrote the essay "Towards an Ethic of Improvisation" where he described the idea of the freely improvised modes to include all sonic possibilities and permissive to go further in the experiment.

Christopher Hobbs, Lou Gare, Keith Rowe, Cornelius Cardew
Germany 1971

”[…] At the words 'You are the music' something unexpected and mechanically real happens (purely by coincidence two teeth in the cogwheels meet up and mesh) the light changes and a new area of speculation opens based on the identity of the player and his music. 

This kind of thing happens in improvisation. Two things running concurrently in haphazard fashion suddenly synchronise autonomously and sling you forcibly into a new phase. Rather like in the 6-day cycle race when you sling your partner into the next lap with a forcible handclasp. Yes, improvisation is a sport too, and a spectator sport, where the subtlest interplay on the physical level can throw into high relief some of the mystery of being alive. […] ”  C.C.


https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=imgres&cd=&ved=2ahUKEwjek7ra5NXaAhVF26QKHc92ALsQjhx6BAgAEAM&url=https%3A%2F%2Fwww.thewire.co.uk%2Fgalleries%2Fgallery_photos-from-the-amm-archive&psig=AOvVaw3YRNjhwOx6BmmFiN-s3dbV&ust=1524758103368158 
AMM. Langtry Road, 1968. pic Frazer Pearce
 

”[…] my own TREATISE which consists of 193 pages of graphic score with no systematic instructions as to the interpretation and only the barest hints (such as an empty pair of 5line systems below every page) to indicate that the interpretation is to be musical. […]  Ideally such music should be played by a collection of musical innocents; but in a culture where musical education is so widespread (at least among musicians) and getting more and more so, such innocents are extremely hard to find. Treatise attempts to locate such musical innocents wherever they survive, by posing a notation that does not specifically demand an ability to read music. On the other hand, the score suffers from the fact that it does demand a certain facility in reading graphics, ie a visual education. […] ”  C.C.



 

three pages of "Treatise"
with Michel Guillet, Jean-Jacques Palix, Marcus Schmickler and Samon Takahashi
for the exhibition "Cornelius Cardew and the freedom of listening"
CAC de Brétigny sur Orge - June 2009
shot by Benoit Lesieux


***

02/05/2018

1968 : we did it again!


On le refait encore !...?


A meeting in between Robert Wyatt, Kevin Ayers and François Bayle, french composer and manager of the famous GRM, on the ostinato "we did it again", from the song written by Kevin Ayers for the first Soft Machine LP.

In 1968, in ORTF studios (French National Radio), it was played at "Currents: Electronic Music From France", Theatre Vanguard, Los Angeles, USA, 06/12/74
& released for L'Expérience Acoustique (1970-72) (Magison 1994 CD)



and more this year with The Soft Machine !
"Hope for happiness"

***


23/04/2018

C. comme ...

Cabalette : n.f.
Pensée musicale légère et mélodieuse, dont l'effet repose sur le retour uniforme du même motif rythmique.

Cécilium : n.m.
Instrument de musique inventé, développé et breveté par Arthur Quentin de Gromard en 1861, suite au manque d'instruments dans l'orchestre de sa société philharmonique "La Cécilienne", dédiée à Sainte Cécile, patronne de la musique.



Canarder : verbe
Produire une fausse note. S’utilise particulièrement pour les instruments à vents. ”Brusquement le tuyau [d'orgue] canarde ou double : le son monte” (H. Bouasse, Instruments à vent,1930)
 

Charivari : subst. masculin
ethym. du grec ”karébaria”, mal de tête, le mal de tête pouvant être engendré par un charivari (grand bruit, tumulte réprobateur) assourdissant


"charivari" - lithographie de Jean-Jacques Grandville.
Dans cette caricature datée de 1831, un député subit un concert dissonnant de casseroles. Son méfait? Avoir, selon les protestataires, trahi les idéaux de la révolution de 1830.  MAISON DE BALZAC / ROGER-VIOLLET


Citole : n. f.
Nom qu'on donnait dans le moyen âge à la cithare.

Clavicorde : n. m.
Terme de musique. Espèce de clavecin.

Copter : v. t.
Frapper une cloche d'un seul côté avec le battant.






Cornet : n.m.
Instrument grâce auquel on produit des sons […] Corne, petite trompe, utilisée par les bergers, les soldats […] Instrument à vent de taille et de forme variables, en corne et percé de sept trous […] Instrument de terre cuite produisant des sons rauques, utilisé dans les fêtes du carnaval, les charivaris […] Instrument à vent (introduit en France en 1826) du même type que le cor ou la trompette, dont la partie centrale est enroulée plusieurs fois sur elle-même et qui est muni de pistons permettant la production de toutes les notes chromatiques […] Instrument servant à amplifier les sons, soit du côté de l'émetteur soit du côté du récepteur […] Instrument qui permettait de s'entendre d'une pièce à l'autre […] Objet de forme conique, servant à contenir quelque chose […]

[…] Cornet de voltigeurs. […] Cornet à bouquin […]  Cornet à pistons […] Cornet d'écho, de récit […] Cornet attaché, pendu, virolé […] Cornet acoustique […] Cornet d'un phonographe […] Cornet de l'oreille […]
[…]
Cornet de champagne […]  Cornet d'épices […]  Cornet à surprises […]


Coryphée : n. m.
Chef des choeurs dans nos opéras ou dans l'antiquité.

Courcaillet : n. m.
Nom qu'on donne au cri des cailles. Sifflet qui imite ce cri et qui sert d'appeau pour les attirer.