The great silence at lock

The first event of a cycle of several atypical evenings organized to celebrate the 20th anniversary of Freddy Morzon, a very active group in Toulouse since 2002 in the fringes of jazz and improvisation, last September 10 was an opportunity for music lovers in a curious mind who changed their habits by going to discover a new group: great silencein a recently opened cultural venue: “L’Écluse Saint-Pierre” in Toulouse.

Set in the heart of an 18th-century building in an idyllic location on the banks of the Garonne, L’Écluse Saint-Pierre, with its café, restaurant and 300-seat room, attracts Toulouse residents. However, due to a fault in the design or construction of sound insulation in action, the recently restored concert hall is no longer capable of broadcasting amplified music concerts at present. Pending resolution, the venue remains open and some concerts can be performed in acoustics. Suffice it to say that evening the name of the group great silence Holds on well!

This formation, with ten musicians, resembles a harmonious orchestra, and consists of woodwinds (wood and brass), and percussion instruments, here embellished with double bass and bass. If we saw this orchestral format flourishing at the beginning of the twentieth century through municipal ensembles, particularly in northern France, the vast majority of ensembles today are primarily military and police formations. With Le Grand Silence, the confusion of the performers representing the forces of order is not evident, neither in the repertoire nor in the appearance of the musicians whose only element of clothing consists of suspenders, mismatched of course!

On the initiative of the project, saxophonist Florian Nastorghighly involved in the Freddy Morzon collective, signs most of the original compositions.

The orchestra consists of saxophones with Mark Maviolo on the bass Florian Nastorg in baritones and Andy LeVeque Viola and copper with William Pique trombone William Ludenat on the trumpet and Sebastian Sirotto Trumpet and alto saxophone, percussion with Leonard Bosavi on bass drum and glockenspiel and Clem Thomas on earthen drum and tube bells (replaced by Jean-Pierre Vivent for this concert), a double bass sound played by Youssef Ghazal and sound Luke Vaguagacarried by two loudspeakers.

Florian Nastorg’s chosen arrangement allows the group to play their music outdoors, without a sound system, which is a plus, but they can easily play indoors, with little or no sound system, as is the case tonight at Lock.

great silence

At first, on a pedal in C played by the bow of Joseph Ghazal on the double bass and Guillaume Pique on the trombone, Luc Fagoaga’s voice rises like a song of ancestors from the mountains, and one immediately feels elsewhere, in a suspended period of time allowing the images inspired by the sounds to emerge. in itself. Andy LeVeque, on the soprano saxophone, he joins the singer in a fourth motif played in unison, then come the percussion and the saxophone, and finally the brass and luke fagoga playing together the theme in questions/answers for this piece by Florian Nastorg: “The Trail of Tears” is part of his theme He recalls the revolutionary song “Ah! He’ll be alright, he’ll be alright, he’ll be alright.” The bridge takes us into a percussive atmosphere as musicians on the palm respond to the percussion, creating a multi-rhythm percussion that Florian Nästorg exits with Austinato on baritone saxophone, soon joined by trumpets and the rest of the orchestra for one hanging final escalation.

The concert will be captivating! The sound rotates and we become familiar with the variety of bells, as in the preface to “Requiescant,” a composition by Florian Nastorg. Few covers like this excerpt from “Passagi nel tempo” by Ennio Morricone, taken from the original music for “Le Grand Silence,” contemporary music with haunting motifs that also evokes Italian horror films of the 1970s: jiali.

With Lily Boulanger’s “Jesu Pie,” orchestrated by Florian Nestorg, we find the soul of the Chicago art troupe in Sebastian Sirotto’s lively, lively playing. Andy Lévêque, with “Socquette acqueuse”, presents a composition very extended in time, full of contemplation thanks to a sober stage where situations, appearance and place have meaning, theatrical, making it possible to see the images of the musicians on the stage that seem to have been frozen by a photograph. With the Funeral Sonata, a traditional piece played during processions in southern Italy, emotion captures one. On a very slow beat, the orchestra, guided by Mark Maviolo on the bass saxophone, rocked gestures from left to right, creating a beautiful visual effect and also allowing the musicians to use movement to keep the rhythm. The slower the piece, the more difficult it is to play, and Mark Maviolo is one of those musicians with that rhythmic focus and focus that allows the orchestra to feel confident. This musician is now one of the few bass saxophone specialists in France, an instrument he now uses in every one of the groups he plays. The bass here, with depth and gravelly roundness, carries the orchestra emanating from it in beautiful tuning to the broad, velvety sound of Guillaume Pique on the trombone and William Laudinat’s trumpet whose phrasing and energy remind us of something New Orleans. The moment when listening to this funeral sonnet stops, one wonders: What next? after death ? The great silence? A group name that, again, “sticks” well to the situation!

great silence

Luke Faguaga suggests his “lottery slug” formula, making us spectators of a relentlessly anticipating fair, like a miraculous elixir seller: “One franc for 400,000 francs, ladies and gentlemen!”. Luke Faguaga surprises: his voice, his physical involvement in the music, his vocal system with his two speakers, the way he uses voice and “cuts”, the samples he drops here and there in moderation during the show, all contribute to making this singer unique and invested great originality in the musical arrangement. For the project proposed by Le Grand Silence. The precision of his interventions gives the music another dimension, more committed, more dream-like, in which his voice and that of the orchestra merge perfectly.

Also great work for the percussion section, very interested in what other musicians are playing, with Leonard Boussavi on the bass drum and Jean-Pierre Vivent on the percussion drum. With precise and optimized gameplay, they discreetly push the vital energy of movement. Sometimes, as in “Requiescant”, they are reminiscent of the Imperial Guardsmen on the battlefields of the First Empire, advancing without fail. Youssef Ghazal, on double bass, works on the lower frequencies of the orchestral voice he shares with Marc Maviolo, Florian Nastorg and Leonard Boussavi. Wonderful interventions with the bow, especially in “Pie Jesu” to work the shadows often harmoniously with saxophones.

We travel in patterns: Florian Nastorg’s compositions can be borrowed from swing as in the beginning of “4600,” continuing the section sung by a capella in Totti, before moving through repetitive music to finish with free jazz. We’re in its simplicity with “Ghost Town,” while “Lakota,” the last track of the evening, with its aegro rhythm, is gleefully reminiscent of the formation of the Brotherhood of Breath by Chris McGregor.

Beyond the cinematic reference and the spaghetti western imagination from which it takes its name (great silence It is a French-Italian western film directed in 1968 by Sergio Corbucci with Jean-Louis Trintignant and Klaus Kinsky, and his music was written by Ennio Morricone), the pieces played by Le Grand Silence have an effect from the first notes to provide that stimulus, that resonance in the listener’s imagination. Orchestras like this seldom exist, with such a particular grain associated with an atypical harmony whose sound is sesame. Ten well-informed donors, who can be found in other projects led by Freddy Morezon, a group whose news can be followed through their website. More than just a concert, Le Grand Silence offers an amazing experience that will delight music lovers, movie buffs and those who come across it by chance or not!

#great #silence #lock

ahmed92aissa

ahmed92aissa

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