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Tytuł:Protest and Spirit Jazz From France

Wytwórnia:Born Bad Records


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70,00 zł

Free Jazz, Free Improvisation, Avant-garde Jazz

Wydanie digi-pack + książeczka

Protest and Spirit Jazz from France 1970-1976

01. Alfred Panou & Art Ensemble Of Chicago - Je suis un sauvage

02. Brigitte Fontaine & Areski Belkacem - C'est normal
03. Atarpop 73 & Le Collectif Le Temps Des Cerises - Attention... L'arme
04. RK Nagati - De l'Orient...L'Orion
05. Fredric Rufin & Raphael Lecomte - Les elephants
06. Francois Tusques - Nous allons vous conter... (Intercommunal blues)
07. Mahjun - Nous ouvrirons les casernes
08. Full Moon Ensemble - Samba miaou
09. Baroque Jazz Trio - Orientasie
10. Michel Roques - Le cri
11. Chene Noir - Hey
12. Beatrice Arnac - Athee ou ate.



'Protest And Spirit Jazz From France 1970-1976'. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries - neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group's stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine's album Comme à la radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically committed chanson francaise (Magny, Ferré, Barbara) with the Art Ensemble of Chicago's voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem.


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