POST-POST-SCRIPTUM 1184
THE THIRD MIND
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POST-POST-SCRIPTUM 1184
THE THIRD MIND

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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POST-POST-SCRIPTUM 1187
ROUF-Ă-LA-ROUFFARDE! = TALWEG & DS EX!
Thomas Guillemaud - saxophone, flute / Eric Lombaert - drums, percussions, flute / Henri Roger - drums, percussions, flute / Joëlle Vinciarelli - trumpet, voice, hurgy-toy, flute
POST-POST-SCRIPTUM 1108
ERMITES DE LâARDENT
POST-POST-SCRIPTUM 1186
LE NU PARMI LES CERCUEILS
POST-POST-SCRIPTUM 1178
MAGIC BAND OF GYPSYS
âAs you know I'm not used to recommend records, but this new 10" lathe cut is a must-have. It's the only recording by MAGIC BAND OF GYPSYS (JoĂ«lle Vinciarelli, Henri Roger and Philippe "@merzbo_derek " Robert), coming from a extravaganza-night in CĂŽte d'Azur back in 2004. Despite its originality, all influences/ references mentioned are fully apt... I'd just add two magnum opus from the 20th Century: âStrange Stringsâ and âVexationsâ . Needless to say, the 24 copies of the lathe went sold out in 1 minute, but more and more I do believe very few people deserve real art these days. Btw, Digital is cheaper than ever, dudes!â - Roberto Opalio / My Cat Is An Alien
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âIl est long le chemin qui mĂšne Ă MBOG. A faire Ă rebours, en plus, puisque le disque en question â le lathe cut en question, nous en parlerons plus bas â dĂ©livre un enregistrement de 2004, live at Corne dâOr, CĂŽte dâAzur. « CâĂ©tait beau, il faisait beau, et jâen ai rapportĂ© une vilaine chanson », disait jadis LĂ©o Ferré⊠La chanson est celle dâun trio : JoĂ«lle Vinciarelli, Henri Roger et Philippe Robert. Les musiciens (ou capables de sons dâintĂ©rĂȘt pour reprendre le Steve Lacy citĂ© au dos du disque) batifolent sur deux faces, celles du lathe cut annoncĂ©. LâUrban Dictionary explique : Lathe Cut is a dubplate where the sound is cut directly into a blank vinyl disc instead of acetate. Il y a donc peu dâexemplaires (24, ici) mais dĂ©jĂ tous partis (24, partis donc). Alors souvenons-nous : des grands coups que le trio donne de la voix ou au piano ou Ă la batterie, des mĂ©lodies mortes dĂ©jĂ Ă peine entendues, des rĂąles de cordes grattĂ©es ou agacĂ©es seulement, dâinstruments Ă©puisĂ©s jusquâĂ la corde (voix / piano encore), de rengaines extraites de quel corps singulier. Entre deux graves, le trio traĂźne justement ce corps et en fait un autre, quâimporte lâinstrument. Dans Agitation Friite, Roger confiait Ă Robert : « Sur plusieurs instruments, des maniĂšres diffĂ©rentes de sâexprimer se rĂ©vĂšlent ; des idĂ©es viennent Ă la guitare, Ă reprendre au piano ou lâinverse, de mĂȘme que des rythmes prenant forme Ă la batterie sâavĂšrent finalement transposables sur guitare ou piano. » Il est court le chemin qui mĂšne Ă hier quand aujourdâhui tout se confond. Du trio dâhier Ă Agitation Friite, câest le serpent qui se mord la queue, me dira-t-on. Oui mais le serpent tâemmerde. Le serpent fait ce quâil veut. Pourvu quâil siffle bien.â Magic Band Of Gypsys Enregistrement : 2004. Edition : 2020. Guillaume Belhomme © Le son du grisli
PS : Les couvertures des 24 exemplaires sont 24 collages signés Philippe Robert. Celui utilisé ci-dessus (que l'on appellera "le sexuel") est la propriété des frÚres Opalio de My Cat Is An Alien. Pardon d'avoir dévoilé leurs petits seins, mais nous les avons accompagné dans tellement de divorces et de séparations.

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POST-POST-SCRIPTUM 1153
LA MORTE YOUNG BORDERLINE TOUR 2019, CAVE 12, GENĂVE -3
POST-POST-SCRIPTUM 1174
PERCEPTION, Mestari
Devenir enfin soi-mĂȘme : telle est, dans les annĂ©es 1960-1970, la leçon qu'ont reçue du free jazz amĂ©ricain les musiciens europĂ©ens attirĂ©s par l'improvisation. Suivant ce prĂ©cepte, ceux de Perception, bien qu'ils accompagnĂšrent individuellement Mal Waldron, Slide Hampton, Johnny Griffin ou Hank Mobley de passage Ă Paris, dĂ©cidĂšrent trĂšs tĂŽt de s'Ă©manciper des tendances d'outre-Atlantique, par souci d'authenticitĂ©.
Quand sort Mestari, leur troisiĂšme et dernier album, Yochk'O Seffer, Siegfried Kessler, Didier Levallet et Jean-My Troung font depuis quatre ans oeuvre de recherche et d'originalitĂ©, en quĂȘte d'un langage leur appartenant en propre. Un langage oĂč la spontanĂ©itĂ© des improvisations n'exclurait pas les influences hĂ©ritĂ©es des traditions classiques et folkloriques europĂ©enne.
ĂquilibrĂ©, aĂ©rĂ©, construit, Mestari marque le retour au noyau dur originel Ă quatre musiciens (rappelons-nous que le prĂ©cĂ©dent album alignait de nombreux invitĂ©s). Et ouvre des espaces sans fin et complĂštement raccord avec ce que produisent en France au mĂȘme moment Cohelmec Ensemble et Dharma Quintet.
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To finally become oneself: that was the lesson, in the 1960-1970s, that European musicians attracted to improvisation had learned from American free-jazz. Following this idea, the musicians of Perception, whilst individually accompanying Mal Waldron, Slide Hampton, Johnny Griffin or Hank Mobley when they played in Paris, decided early on to break free from what was going on across the Atlantic and seek their own authenticity.
When Mestari, their third and final album, came out, Yochk'O Seffer, Siegfried Kessler, Didier Levallet and Jean-My Truong had four years of questing and originality behind them developing their own individual language. A language in which the spontaneity of the improvisations did not exclude influences taken from European folk or classical traditions.
Balanced, ethereal and structured, Mestari was a return to the original core quartet (the previous album included numerous guest musicians). It opens infinite perspectives and is totally in phase with what was being produced in France at the same time by Cohelmec Ensemble and the Dharma Quintet.
POST-POST-SCRIPTUM 1175
PERCEPTION, Live At The Stadium
Sept ans d'activitĂ© effervescente : peu d'ensembles de free jazz peuvent s'enorgueillir d'une telle longĂ©vitĂ©, surtout avec un personnel aussi stable que celui de Perception. Certes la formation invita quelques musiciens, dont Kent Carter et Jean-Charles Capon, le temps du deuxiĂšme opus⊠Certes la "difficultĂ© d'ĂȘtre" de Siegfried Kessler gĂ©nĂ©ra un remplacement temporaire par Manuel Villaroel⊠Mais pour l'essentiel, c'est le noyau dur Ă quatre du premier album qui arpenta l'Europe, au grĂ© des concerts, de la Belgique Ă l'Allemagne et passant par la NorvĂšge, oĂč Perception reprĂ©senta la France au festival de Molde.
Peu de changements de personnel donc, si ce n'est à la fin, en 1975, une fois le troisiÚme disque finalisé, aprÚs le départ du batteur Jean-My Truong qu'il fallut bien remplacer. D'abord par Mino Cinelu, alors dans Opération Rhino et Moravagine, puis par Jacques Thollot, déjà auteur des cultes Jeter la girafe à la mer et Watch Devil Go. Des changements qui n'entamÚrent pas l'esprit de Perception, tant l'un comme l'autre surent s'intégrer à un ensemble à l'identité pourtant trÚs forte.
Du passage de Jacques Thollot, aucun disque jusqu'Ă Live At The Stadium tĂ©moignait. Aussi cet enregistrement en public datant de 1977 constitue-t-il une archive prĂ©cieuse, reflet de recherches toujours aussi singuliĂšres et contrastĂ©es bien qu'entreprises depuis 1970, dans le sillon du sĂ©minal Our Meanings And Our Feelings de Michel Portal. Archive accrĂ©ditant ce qu'on savait dĂ©jĂ , Ă savoir que rares furent alors, en Europe, les quartettes Ă culminer Ă un tel niveau, en dehors de celui que formaient quasi au mĂȘme moment, de maniĂšre occasionnelle toutefois, Gerd Dudek, Joachim KĂŒhn, Peter Warren et Daniel Humair.
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Seven years of effervescent activity: few free jazz groups can be proud of such longevity, especially with a line-up as stable as that of Perception. Yes, there would be several guest musicians, including Kent Carter and Jean-Charles Capon, on the second album⊠Yes the "existential problems" of Siegfried Kessler would necessitate him being temporarily replaced by Manuel Villaroel⊠But for the most part, it was the core quartet of the first album which would tour Europe, through concerts from Belgium to Germany and including Norway where Perception represented France at the Molde festival.
So, few personnel changes then, until towards the end, in 1975, after completing the third album, when drummer Jean-My Truong left and had to be replaced. First by Mino Cinelu, at the time in Opération Rhino and Moravagine, then by Jacques Thollot, already behind the cult albums Jeter la girafe à la mer and Watch Devil Go. These changes did not alter the spirit of Perception, as both were able to integrate a group which nevertheless had such a strong identity.
There was no recorded trace of Jacques Thollotâs time in the group, until Live At The Stadium came to the rescue. So, this live recording from 1977 is a precious archive, displaying unique and contrasting directions which had first begun to be explored in 1970, following the seminal Our Meanings And Our Feelings by Michel Portal. An archive then, which proves what we already knew, that there were few quartets in Europe at the time capable of reaching such a level, other than that formed on an occasional basis, around the same period, by Gerd Dudek, Joachim KĂŒhn, Peter Warren and Daniel Humair.