A very Normandy drizzle on the afternoon of September 23rd welcomes us to this second edition of Les Arches en Jazz Festival. The sea withdrew from the harbor, after a bridge of 13 arches, the boats of the small harbor were stranded; Don’t Care: Quartet of Organizers Francois Rousseau, Sebastien Danchen, Andre Caillou, and Yves Rousseau ready.
This educational and cultural project brings together residents, schoolchildren and vacationers who have stayed or even returned for this occasion.
In the small town of Port-Belle-sur-Mer, on the west coast of the English Channel, there is no shortage of places to listen and sites have been modified, such as the splendid, dismantled, fortified Romanesque Basilica of Notre Dame. Serving the bitter boat tower, a contemporary church and village hall in the neighboring towns, the famous harbor and bridge with thirteen arches hold the final bouquet.
We are busy in the restaurant kitchens, the organic vegetables have been harvested by volunteers from the local producer, they require a short circuit, they are peeled and a good soup is already boiling. The roaster set up his headquarters in the square as is the norm in La Manche.
- Shabda Sextet © Gérard Boisnel
Sheba SixtiteI invent Yves Rousseau After three days of staying on site, the festival opens. Shabda means “sound” in Sanskrit. In the Indian philosophical system TanmatraSound is the subject of perception of the ear (organ of sense) associated with the ether Akashathe title of the album released in 2015. The sounds unite the orchestra like planets align.
The historical composition consists of Yves Rousseau (deep voice) Jean Marc Larchi (sax soprano), Geraldine Laurent (Alto Sachs), Christoph Margate (drums) Welcome to the new Jean Charles Richard (Baritone Sachs) and Clement Janet (violin and mandolin) and happily merge into a Sanskrit dialogue.
The audience is very attentive to these intense conversations and realizes the deep meaning of this combination across pieces. Yin and yang, masculine and feminine are revealed and we are caught up in a masterful solo drum set in “poetic touch.” How to restore the sound of the wind in Rosgar, with three blowers and bells, or imagine yourself in Turkey without setting foot there, to the mouthless saxophone that plays like a flute Jean Charles Richard ? The collection ends with the lightness, transparency and luster of ‘Svaccha’.
Previously, in the morning, Yves Rousseau And the Jean Marc Larchi Foot continuity For school children in the spirit of participation and meeting melody.
- Bach on the Block © Gerard Buesnell
The next day, Saturday, the sun came back. The public has an appointment at noon in the Notre Dame Basilica. cellist Pauline Bartisol It combines the elegance and grace of classics with the constant interest of a jazz saxophonist Jean Charles Richard , with confidence in an unexpected guide. The two musicians meet to re-read cello wings Bach. Bach on the blockJazzy Jean Sebastian!
The intensity of the moment overwhelmed the audience in this place full of spirituality. ” Bach, for a musician, it’s like an Everest with imagination “The musician exclaims or, more classically, quoting the Roman philosopher Cioran,” If there is one person who owes everything to Bach, it is God !
Wings No. 6, 8 and 3 are arranged in their own way and punctuated by the serband as the dances rise and chime. The concert ends with a bold two-minute overlay. The audience raves about the meeting of these two types of music, Baroque and Jazz. As an aside, the cellist reveals to us her fears, though not the first, to venture into the unknown of the jazz world and mix this classic sound with it.
- Stracho Temelkowski © Gérard Boisnel
From church to chapel, we gather here about a Macedonian multi-instrumentalist on a journey into his world: Stracho Temelkowski for Braca’s voice single. His multi-instrumental music, percussion, viola, Brazilian five-stringed guitar, mandola and beatbox, sounds like a disdain for balkanization that can be imagined in a negative way. On the contrary, here it constitutes the amalgamation of several traditions.
Humor, joy and benevolence permeate his works, from the quietest to the most fiery. The ubiquitous percussion instrument sometimes accompanies the prison-set “Saudade des Baumettes” with a Cape Verdean samba dancer, and sometimes a frenzied Balkan tango with nine rhythms, “Manzanilla”. We imagine ourselves in family feasts with “Gypsy” as the longest-running single movie winner comes out rich. Here, there are no tickets in the belt but it is continuous and filled with enthusiastic applause. Reshapes the world in “Make a Dunya” from a trip to Pakistan by bus; The caravan passes through our imagination to the intoxicating bass.
- Guillaume de Chassy | © Gérard Boisnel
On the same evening, we can thank the Philharmonie de Paris for initiating this project on piano solo Barbara I trusted him Clouds of Dishase. But what happens in the head of such a musician when faced with such a suggestion to interpret the repertoire of the famous melody in black?
Bold, possessive, a touch of madness?
First, you need a king piano. The person in front of it is a beautiful Yamaha C6. ” I feel like we’ll get along so well, this piano and I, we hear a round sound even if I hit hard Whispers aside. Possessed, he is little since Barbara’s melodies have reverberated in his head and heart since his childhood. He admits that, when he plays, he is guided more by words than by melody. And now “the most beautiful love story” invades the room: in the audience, heads meet, hands cross and hearts merge. But you have to gather yourself in front of the dramatic beauty of “Rapaces” mixed with “The Black Eagle” after fondling “Göttingen”. The musician combines humor and irony with the beauty of his schizophrenic keyboard hand gestures essential to our survival. “Nantes” will leave you speechless even as “Little Cantata” rises to a violent slack.
The interaction of the nuances, the intensity of the attacks and the softness of the brush strokes attract the pianist to this ” A devotion that allows him to detach his brain from playing solo and leave room for Barbara to improv The party ends with “Perlimpinpin,” which is the first of them. An anti-military song for peace.” Against adult stupidity and children’s hair And as a reminder, the pianist will play his favorite song for everyone’s happiness, “September (what a beautiful weather)”, impossible love in the fall at the end of this beautiful summer to say goodbye.
- Echoes of the Jungle Trilogy | © Gérard Boisnel
On the last day, painter Eugene Boudin celebrated under Norman skies until the audience gathered in the front yard of the Notre Dame Basilica at the Port-Belle Sanctuary for the final bouquet, Echoes of the Jungle Trilogy. It took the youth and boldness of the three creative company members Don’t say no, you smiled To graft their improvised music, be it a brainstorming machine or a dance machine, into Duke Ellington’s repertoire. Everything flies away according to the west wind that blows over the offices Simon Deslands (tr), Samuel Fren (Baritone Sachs) and Nicholas Lilliver (drums, percussion). Pieces are bombarded along scientific improvisations. The cymbal dances, then the sweetness returns. In these loud eruptions, even local pebbles are used and crushed. The audience guesses “Harlem Nocturne” and “Lady Sophisticated”. Distribution of percussion objects, maraca, metal boxes or bouncing balls to the audience accompanies the “flamingo”. “Forest Echoes,” a nickname dear to the trumpeter, is followed by a final walkthrough, which will lead them to the top of the Thirteen Arch Bridge as the new Beatles on Abbey Road.
Les Arches en Jazz Festival is a three-day celebration of sound with six concerts in a majestic setting. The eclecticism of the proposals breaks the boundaries between different music styles and venues. The public is looking forward to this post-summer season as an airlock for gently entering winter. Regulators are also sensitive to the smooth running of an environmental, standardized and sustainable approach.
This second edition delivered on its promises and asserted that “the continuum is at the forefront of jazz”. This festival will grow with the support of its teachers and volunteers who are warmly thanked. It will also be enriched by many other projects that will be generated for the territory and by continued artist residencies.
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