Sunday, November 13, 2016

Various Artists - 1966 - Electronic Music

Various Artists 
1966
Electronic Music




01. Lewin-Richter Study No. 1 3:35
02. Mimaroglu    Le Tombeau D’Edgar Poe 7:20
03. Mimaroglu    Intermezzo 3:05
04. Mimaroglu   Bowery Bum (Study After Jean Dubuffet) 2:50
05. Avni Vocalise 5:47
06. Carlos Variations For Flute And Electronic Sound 4:00
07. Carlos Dialogues For Piano And Two Loudspeakers 4:05


Sleeve Notes – Andres Lewin-Richter, Ilhan Mimaroglu, Tzvi Avni, Vladimir Ussachevsky, Walter Carlos



Excellent mid 60's LP collection of truly out electronic pieces by Andres Lewin-Richter, Ilhan Mimaroglu, Tzvi  Avni, and Walter Carlos. Side 1 is a bunch of primitive synthesizer sounds seemingly at random. Interesting yet perplexing. I like listening to bizarre things but no one I know would make it more than a minute or two. Side two starts out with more electronic sounds with hollow electronic voices mixed in. Continues on with some almost musical passages, still my wife was giving me the WTF? look. I'll give this one a poly lined sleeve. Interesting enough to pull out once every 4 or 5 years. Sound quality is pretty good.


John Lennon with Electronic Music!



Nébu - 1980 - Motus

Nébu 
1980
Motus


01. Morceau En Forme De Pierre
02. Abaque
03. Motus
04. Eboulements
05. Sibylle
06. Quatre A Quatre

 Line up:

 - Claude Simard - contrabass, electric bass, electric piano, percussion
 - Jean Derome - alto, bass, piccolo flutes, traversiere, flute en do, flute en bois, electric piano, voice, percussion
 - Pierre Saint-Jacques - piano, electric piano, cymbal, percussion, voice
 - Mathieu Léger - drums, percussion (2, 6)
 - René Lussier - electric guitar (2, 3, 4)

 Recorded at Studio TM, Montréal, 18 February to 10 March 1980


Nébu - 1978 - Nébu

Nébu 
1978 
Nébu




01. Calmos
02. Carcajou
03. Jeu De Dame
04. Comme Un Invitée
05. La Femme Du Cheikh Souffre De Chromatisme

 - Claude Simard - contrabass, electric bass
 - Jean Derome - flute, bass flute, voice
 - Pierre Saint-Jacques - piano, melodion, percussion, voice

 Recorded at Studio Marko, Montréal, Octobre 1978




Nebu arrives on the scene as Quebec begins to familiarize itself with jazz. Uniting flutist Jean Derome, pianist Pierre Saint-Jacques, and bassist Claude Simard, the trio combine jazz and progressive notions. The story begins in 1973, while Derome was studying at the Cegep St-Laurent. (He would pursue musical conservatory studies at the Conservatoire de musique du Québec.) The ensemble appeared regularly on stages across Quebec, as well as the Festival de musique ouverte in Chateauvallon, France.
Their first album appears in 1978, no doubt aided by their connections with Conventum's Rene Lussier (credited as production assistant) and the group Solstice (listed as collaborators, but effectively the managers of the Cadence record label on which appears the band's two albums). Each musician's compositions fill about a third of the album each. Nebu's sound can be compared to the classically-inspired jazz displayed by bands appearing on ECM. "Carcajou", for example, begins on a joyous enough note before wandering into improvisations that see Simard produce sounds somewhere between funk-slap and rubber bands, before abruptly returning to the opening theme at the end of the piece. The closing number, "La Femme du cheikh souffre de chromatisme" is by far the longest and most experimental track. This last one aside, this rather light album is easy to listen to in moments of relaxation while still keeping one's brain engaged.
The entire trio participated in the founding of the informal organization <i>Ensemble de Musique Improvisee de Montreal (EMIM), alongside Lussier and a plethora of musicians participating in bohemian fashion, in one day, away the other. Uniting the city's improvisational and jazz artists for shows in local bars and clubs, the EMIM also lent its name in 1979 to the album "Danses" (also released on the Cadence label), performed by a quartet which included Simard and Saint-Jacques.
Nebu was one of the performers for the first Festival de Jazz de Montreal, held in 1980. This same year saw the release of their second album, "Motus". Starting off in much the same vein as the first album, one could almost believe these recordings were culled from the same sessions as those for the first album. Electric guitars then appear on the second piece, followed by drums on the third, bringing forth a progression in the group's sound, now somewhat more nocturnal in tone. The surprise this time around is the album sleeve: Derome chose to draw the 1000 copies by hand, making each copy a unique item.
Nebu stopped functioning as a trio in 1981, but pursued their affiliations with the EMIM until its dissolution in 1985. The latter would then be restructured into a more official form as l'Association pour la Diffusion des Musiques Ouvertes (ADMO). The ADMO would see to the operations of the No Man's Land festival, running alongside the Festival de Jazz de Montr&eacute;al. Amongst the trio's members, Jean Derome's post-band activities are best documented: founding the <Ambiances Magnetiques label with Lussier, he benefits by recording with various artists (including Fred Frith, Chris Cutler, and Pierre Tanguay, amongst others), as well as with his own group, Jean Derome et les Dangereux Zhoms. St-Jacques (renamed Pierre St-Jak) frequents the same spheres of activity as Derome, be it in duos and bands (such as St-Jak Workshop Non Stop, St-Jak Quartet Off-On, L'Hotel du bout de la terre and St-Jak/Vendette, the latter appearing as recently as 2006) or in solo form (recording his sixth album in 2002, for the Monsieux Fauteux, m'entendez-vous? label). St-Jak also became one of the main organizers for the Montreal OFF Festival de Jazz

Patrick Portella / Joseph Racaille - 1983 - Les Flots Bleus

Patrick Portella / Joseph Racaille
1983 
Les Flots Bleus




01. Patrick Portella Choral
02. Patrick Portella A Madrid
03. Patrick Portella Un De Perdu
04. Patrick Portella Hors Concours
05. Patrick Portella Igor
06. Patrick Portella Jamais Deux Sans Trois
07. Patrick Portella A Paris
08. Patrick Portella On Ne Peut Plus Compter Sur Ses Doigts
09. Patrick Portella A Bientôt
10. Patrick Portella Panne D'Essence
11. Patrick Portella Dernières Volontés
12. Patrick Portella Ali Baba Et Tous Les Voleurs
13. Patrick Portella Sous Les Ecoutilles
14. Joseph Racaille Chacun De Son Côté
15. Joseph Racaille Un
16. Joseph Racaille Deux
17. Joseph Racaille Retourne A Melbourne
18. Joseph Racaille Retourne A L'École
19. Joseph Racaille Trois
20. Joseph Racaille Quatre
21. Joseph Racaille La Douche
22. Joseph Racaille Cinq
23. Joseph Racaille Vieille Hawaï
24. Joseph Racaille Six
25. Joseph Racaille Sept
26. Joseph Racaille On Ne Peut Plus Compter Sur Ses Doigts
27. Joseph Racaille Trois Valses
28. Joseph Racaille Huit
29. Joseph Racaille Neuf
30. Joseph Racaille Préfugue Et Lude

Clarinet – Patrick Portella (tracks: A1 to A13, B13)
Piano, Voice, Music By – Joseph Racaille




Joseph Racaille was the R in ZNR, famous in progressive circles for their 1980 album "Traité De Mécanique Populaire" which of course was completely out of the sphere of anything popular and without a doubt remains very much so.  Portella (the N in ZNR?) collaborated with him on the Flots Bleus album with side one composed by P and side two by R.  The former plays clarinet, sometimes constructing ingenious chords in layers, the latter wrote the lyrics and plays the piano.  The combined sound is oddly French with its accordion-like dimensions.  In the EP 6 Petites Chansons on the other hand, we have one Norbert Aboudarham playing the accordion (as well as the Bouzouki, which, for those who don't know like myself, is a Greek mandolin-like stringed instrument).

Between the EP and 1990's Triton, I don't see anything listed in any discography of him. I wonder what he did in those intervening years, does anyone know?

Both albums were produced by the label Recommended Records which despite the similarity was a separate entity to Re Records from which the Quarterly albums were derived.  However the musicians and artists obviously were the same or at least very similar for both Record Companies.

The Flots Bleus album picks up straight where ZNR left off without a doubt, often simple clarinet or sung melodies on top of piano phrases, three-note repeating patterns.  I will admit at times it degenerates into what sounds like silly, simplistic children's songs, a failing that is all-too-sadly common in RIO and that drives me batty as a fan of the genre, especially since it serves to alienate so many people.

Joseph Racaille - 1983 - 6 Petites Chansons

Joseph Racaille 
1983
6 Petites Chansons




01. Nous Sommes Des Animaux
02. Bientot, Une Fin
03. Annie La Telie
04. Solo Un Dia
05. Une Joliie Paire
06. A Personne En Particulier

Accordion, Bouzouki – Norbert Aboudarham (tracks: A1 to B1)
Artwork By [Cover] – Chris Cutler, EMT
Clarinet – Nano Peylet (tracks: A3 to B2)
Composed By – Joseph R.
Double Bass [Contrebass] – Pierre Jacquet
Mastered By [Cut] – Tim
Saxophone, Flute – Christoph Baillot (tracks: A1 to B2)
Violin – Bruno Girard
Voice – Choirs Of Guiseppe Racaglie
Voice, Piano, Guitar, Melodica – Joseph Racaille

Notes: Initially included as a special bonus item with subscription copies of Joseph Racaille & Patrick Portella "Les Flots Bleus" LP (RR 16)
Also later included in the "16 Dance Party Smash Hits!" 16x7" box set put out in 1985 as a Re and Recommended 7th Anniversary Commemorative Issue




Joseph Racaille was the R in ZNR, famous in progressive circles for their 1980 album "Traité De Mécanique Populaire" which of course was completely out of the sphere of anything popular and without a doubt remains very much so.  Portella (the N in ZNR?) collaborated with him on the Flots Bleus album with side one composed by P and side two by R.  The former plays clarinet, sometimes constructing ingenious chords in layers, the latter wrote the lyrics and plays the piano.  The combined sound is oddly French with its accordion-like dimensions.  In the EP 6 Petites Chansons on the other hand, we have one Norbert Aboudarham playing the accordion (as well as the Bouzouki, which, for those who don't know like myself, is a Greek mandolin-like stringed instrument).


ZNR - 1980 - Traité de Mécanique Populaire

ZNR 
1980 
Traité de Mécanique Populaire




01. Ancien automate mexicain (1:53)
02. Écorcherie romantique pour coeur fêlé (1:41)
03. Enchevêtrement désordonné (3:17)
04. Alia lasse (2:21)
05. La vieille montre (1:41)
06. Tout debout (1:15)
07. Printemps au jardin potager vu d'en-haut (1:04)
08. Triste prose et vieux billards (0:57)
09. Garden Party (1:59)
10. Chanson triste pour faire danser les petites filles (2:08)
11. Nu au bain (0:56)
12. Sérénades italiennes (0:56)
13. Trou de blé (0:46)
14. Vieille chanson irlandaise (1:55)
15. Memoire d'un chien (1:10)
16. Un véritable monstre à musique (3:05)
17. Printemps au jardin potager vu d'en-bas (1:03)
18. Deux pièces élémentaires pour piano et un prélude (2:19)
19. Le fils du grand compositeur (2:11)


- Hector Zazou / synths, electric piano, bass, vocals, violin
- Joseph Racaille / piano, vocals, electric piano, violin
- Patrick Portella / clarinet, bass clarinet
- André Jaume / saxophone
- David Rueff / violin, flute
- Fernand d'Arlès / drums, percussion
- Gilly Bell / synths, violin




Even more seductive than the Barricade 3 album. ZNR delivers another piece of fragmented beauty; some contemporary classical music, a couple of dances (like the excellent tango "Garden party"), and pieces with a Canterbury touch, all performed with brilliance and ease. This album is more accesible than the previous one, since the sound is a bit wider and more acoustic. Highly recommended.

ZNR - 1976 - Barricade 3

ZNR 
1976 
Barricade 3




Face « Serpent »
01. Proumier Assai Per S'Amourousis D'Un Moustre
I. Prélude Aux Mémoires D'Un Chien 0:48
II. Première Tentative 0:45
02. Trop De Douceur Ou Les Trois Soeurs: 2e Soeur 0:38
03. L'Armoire 1:37
04. Le Grand Compositeur Vu De Dos (4:50)
I. Boston Mexicain N° 1 2:35
II. Boston Mexicain N° 2 0:04
III. Boston Mexicain N° 3 1:10
05. La Pointe De Tes Seins Est Comme Un Pétale De Pavot
I. 1er Movement 3:25
II. 2e Movement 0:00
III. 3e Movement 3:40
06. Solo Un Dia 2:45
07. La Vieio Mostro: Part II 1:45
Face « Rat »
08. Espelisoun D'Uno Ribambello D'Evenimen Espetaclous Valentin Bilot 1:15
08. Armistice Couronné De Feuillages 2:23
10. Le Grand Compositeur Vu De Face 2:55
11. Seynete 3:45
12. Editioun Especialo D'Uno Griho De Jardin 5:35
13. Annie La Telie 0:03
14. Naïve Description De La Formation D'Un Sentiment 2:05
15. Avril En Suède


- Hector Zazou / synths, electric piano, bass, vocals, violin
- Joseph Racaille / piano, vocals, electric piano, violin
- Patrick Portella / clarinet, bass clarinet
- André Jaume / saxophone
- David Rueff / violin, flute
- Fernand d'Arlès / drums, percussion
- Gilly Bell / synths, violin

Originally released in France by Jean-Marc Bailleux and 'Isadora' in 1977.
Reissued in 1981 by Recommended Records as RR7.
Side A is called "Face Serpent"
Side B is called "Face Rat"
Comes in a quite thick plastic sleeve and includes a fold-out sheet with artwork [Drawing] by Don van Vliet [Captain Beefheart].
Early copies also include a small size insert with titles and graphics from the original cover.




ZNR was a Avant-Prog French duo that consisted of composer Hector Zazou and Joseph Racaille both on keys, vocals and on some guitars, reeds and violins by special guest musicians. The band played short, odd songs with bizarre titles similar to that of their main inspiration, Erik Satie. Their main style was that of a chamber rock band with quirky flourishes spread throughout their music. The duo released two albums, one in 1976 titled Barricade 3 and one in 1980 called Traite De Mecanique Populaire, before disbanding. Their first album was dominated by synth with their second was nearly entirely acoustic. They are highly recommended to fans of Samla Mammas Manna and the more unusual side of Chamber Rock.

ZNR was just the name of the French duo Hector Zazou/Joseph Racaille, both great keyboard players and composers.The project evolved after the demise of the Avant-Rock band Barricade, for which Zazou (then named Roquet Belles Oreilles) played bass and Racaille participated on the piano lines.The collaboration between the two musicians begun in 1975 and a year later ''Barricade 3'' (the album title refers to the two projects Barricade split into after disbanding with ZNR being the third one in line) sees the light, recorded at the Studio of Gilly Bell in Ventarben in January and released on Isadora Records.

The album shows the desire of the two musicians to produce some dreamy, deep and highly intellectual musicianship, influenced by the fundamentals of Chamber and Electronic Music as well as Jazz, for which they were helped by several musicians on violin, clavinet and sax parts with just a lone guitar/rhythm section appearance.The original release was split into two pieces, ''Face Rat'' (side A) and ''Face serpent'' (side B), offering some very esoteric minimalistic atmosphere, always driven by the Zazou/Racaille duo and their performances on pianos and analog synths like the VCS3 and the ARP 2600, under a very Chamber/Electronic mood.Most of the short pieces included in the album features an occasional appearance of either violins, clavinets or saxes, making the sound very close to the RIO movement of the time.Some of them even contain vocals (sung either by Zazou or Ricaille) in a tremendous poetic and very French way.Just a few of them sound rather dull, as if coming out of an 80's computer game, due to the monotonic beats and the sometimes surrealistic sound of synths.

The description of the album might suggest a very abstract and free-approached release, but the truth is ZNR's ''Bariccade 3'' is a rather tight and flat album with no particular mood changes and the minimalistic approach of Zazou and Racaille has often plenty to offer, if you are into this stuff.Overall recommended.