Depuis quelques mois, la ville de Brest vit à l’heure américaine. Partout, des concerts, balades, expositions rendent compte de l’arrivée des "Sammies" à Brest en 1917. En écho à ces évènements, le festival sera marqué par le centenaire de l’arrivée du jazz en Europe...

Atlantique Jazz festival #14

The online meetings we have all become accustomed to are often accompanied by the experience
of being distracted and drifting off into daydreams. In this piece, you will take part in a journey into
the mind of a host in an online meeting with multiple participants. You will hear how the ringing of
a phone, a car horn, or a glitch in the online stream trigger an irresistible sonic journey in which all
these events dissolve and abandon their old meaning to form new sound worlds that emerge from
their material.

Commissioned by Electric Audio Unit

DAYDREAMING (excerpt, Binaural)

Sprawl- tel aviv museum live set

André Minvielle - Open Jazz -France Musique - 6/03/2014

from KR110: An Moku & Stefan Schimdt - Raum im Raum (tape / DL) out on june 16th 2023

Raum im Raum

Raum Im Raum

AN MOKU & STEFAN SCHMIDT - RiR °2

Kodaly / Sonate for solo cello

Track 4 from the "Visitation EP" releasing July 14, 2023.
Mastered by SSDP studios.

Offensive Spells

from forthcoming: Francisco Meirino "A Perpetual Host" CD

A Perpetual Host is Francisco Meirino’s fourth full-length, solo studio album on Misanthropic Agenda.
A deep dive into personal loss and the banalities of life and art, A Perpetual Host captures the raw, solitary, and often acerbic extremes that drive creation. Across four pieces, Meirino explores sonic tension and boredom, questioning the simplicity and complexity of the mundane with bursts of clarity that redefine existence itself.

Francisco Meirino is a Spanish sound artist based in Switzerland.

His music explores the tension between programmable material and the potential for its failure. His interest lies primarily in what is not supposed to be recorded : the end of life of electronic devices, electrostatic noise, magnetic fields and the unconventional use of music hardware and sound systems and how to exploit these sonic failures in radically different ways in his sound pieces.

His music combines intricate textures, sonic precision, wide spatial panning and is fascinating by its physical intensity and detail precision.

He mostly uses the modular synthesizer (Eurorack-Serge), various microphones, the computer, the field recorder, tape recorders and tape echoes, EMF detectors and various home-made electro-acoustic devices.

https://misanthropicagenda.bandcamp.com/album/francisco-meirino-a-perpetual-host

misanthropicagenda.bigcartel.com/product/francisco-meirino-a-perpetual-host

A Perpetual Host

Francisco Meirino "Something Always Remains"

visage implicite

Kim Myhr & Lasse Marhaug - 31.5.17 [excerpt]

The intricate sonic activity behind 'Live at default' testifies to Francesco Corvi's recent post-acousmatic practice. Intense multi-layered textures and rich synthetic soundscapes are fused with micro-sounds. Highly detailed digital noise is made warm and enchanting by the live performance and ambience recordings, and reaches its best character on magnetic tape.

"In my practice software is not conceived as an instrument, neither as a virtual agent, but rather as a dynamic network of interconnected components that exhibit emergent properties by monitoring their own behavior, adapt to changes and alter their own structure. Immersed in this ecosystem of sonic processes, I shape the unfolding of the performance by modifying the software on stage and responding to its behavior. This peculiar form of improvisation possesses a unique performative idiom that cannot be reduced to bodily gestures or human intentions, as the sonic activity itself becomes the medium for conveying the liveness of the performance. This release focuses on how such a feeling of liveness might be translated into a record, placing particular attention on the capturing of the acoustic space of the concert hall and the additional layer of meaning it creates."

Francesco Corvi (aka nesso) is a performer, composer, and multimedia artist. He works with custom digital technologies including live coding environments, adaptive systems, and spatial audio engines,
creating shows at the intersection of computer music, new media art, and deconstructed club. He released music on Superpang, Kaer'Uiks, Genot Centre, HEEL.ZONE, Mossa records, Riforma.

released December 15, 2023

Music composed and performed by Francesco Corvi, live recorded 16.03.2023 at default #3 in Den Haag
Mastered by Francesco Corvi
Artwork by Ran
Cover silkprinted at Papier Gâchette, Strasbourg

Live at default

Live at default (excerpt)

pic: Laila Shawa - Eye Of Destiny (1992)




Lines Of Sight [o.fo1, normalized]

Spinal Spiral - Indigoblue invite Bios Contrast (Février 2024)

From the album “Laisse ça être”, out on Almost Musique/Crammed Discs

Laisse ça être

Aquaserge - "Tour du monde"

Composé et Arrangé par Bumpkin Island
Federico Climovich - Batterie, Percussions
Jérémy Rouault - Basse, Guitare, Clavier, Voix
Thibaut Galmiche - Guitare, Clavier
Vincent Chrétien - Guitare, Voix
Clément Lemennicier - Trompette, Bugle, Guitare, Clavier, Voix
Ellie James - Voix Lead, Clavier, Pecussions

Musiciens additionnels
Simon Latouche - Trombone
Simon Pelé - Bugle

Réalisé, enregistré et mixé par Thomas Poli - Studio Impersonal Freedom (Sep. 2016)
Masterisé par Peter Deimel et David Odlum au Studio Black Box (oct. 2016)
Artwork par Raphaël Decoster

(p) 2016 Patchrock - Les Disques Normal

All Was Bright

SPECTACULAR LIVES

Dedicated to the memory of Tony Marsh

The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards.

It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities.

Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist.

Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility.

On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts.

John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role.

No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later. 

"Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker   	(Quoted in John Fordham's Obituary for Marsh)

Roscoe Mitchell / Tony Marsh / John Edwards 'Improvisations' SIDE A (excerpt)

As you can imagine we are under huge pressure at the moment and are working flat out to ensure Cafe OTO survives this. The impact of this situation is extremely acute for small venues like ours and we need all the support we can get to pull through. Please donate what you can, if you can. Thank you. 

Cafe OTO opened in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream. It comprises one large cafe/performance space open during the day serving food and drink with an evening programme of live music almost seven nights a week. 

OTOROKU is part of OTOProjects - a not-for-profit Community Interest Company (CIC) that has been set up to manage the programme at Café Oto. Any profits from OTOROKU are put back into supporting what we do and will help us to continue programming the best musicians and performers from all over the world.

www.cafeoto.co.uk

Plages Magnétiques (association Penn ar Jazz), structure labellisée SMAC (Scène de Musiques Actuelles), basée à Brest depuis 1997, travaille à la diffusion et à la promotion des musiques de jazz. Une cinquantaine de concerts jalonnent la saison de octobre à juin; l’Atlantique Jazz Festival en octobre, Désordre en janvier et Sonore en mai (jusqu’en 2016) sont autant d’événements offrant aux publics une diversité de ces musiques. Plages Magnétiques soutient également la création de projets, la formation et accompagne des musiciens mêlant jazz, musiques électroniques, acoustiques, contemporaines et traditionnelles.
En 2018, Penn Ar Jazz s’envole pour Plages Magnétiques...

Roscoe Mitchell / Tony Marsh / John Edwards 'Improvisations' SIDE A (excerpt)

cafeOTO

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