Barre Phillips

Écrit par Thierry Barbé. Posted in Classique

Barre Phillips (born 1934 in San Francisco) is a jazz and free improvisation bassist. A professional musician since 1960, he migrated to New York City in 1962, then to Europe in 1967. Since 1972 he has been based in southern France.

He studied briefly in 1959 with S. Charles Siani, Assistant Principal Bassist with the San Francisco Symphony During the 1960s he recorded with (among others) Eric Dolphy, Jimmy Giuffre, Archie Shepp, Attila Zoller, Lee Konitz and Marion Brown.

Phillips' 1968 recording of solo bass improvisations, issued as Journal Violone in the USA, Unaccompanied Barre in England, and Basse Barre in France, is generally credited as the first solo bass record. A 1971 record with Dave Holland, Music from Two Basses, was probably the first record of bass duets.

In the 1970s he was a member of the well-regarded and influential group The Trio with saxophonist John Surman and drummer Stu Martin. In the 1980s and 1990s he played regularly with the London Jazz Composers Orchestra led by fellow bassist Barry Guy. In 1991 he worked with Ornette Coleman on the soundtrack of the motion picture Naked Lunch.

As a free improviser he has worked with (among many others) bassists Peter Kowald and Joëlle Léandre, guitarist Derek Bailey, clarinetists Theo Jörgensmann and Aurélien Besnard, saxophonists Peter Brötzmann, Evan Parker and Joe Maneri, and pianist Paul Bley.

Barre is the father of rock guitarist Jay Crawford from the band Bomb, and of the bassist Dave Phillips.

Mark Helias

Écrit par Thierry Barbé. Posted in Classique

Bassist/composer Mark Helias is seen regularly at venues in New York City ranging from The 55 Bar to Carnegie Hall. After his studies with Homer Mensch at Rutgers University and Yale School of Music, he embarked on an international performance career with the Anthony Braxton quartet in 1977. Since then he has enjoyed long musical associations with Edward Blackwell, Anthony Davis, Dewey Redman, Ray Anderson, Don Cherry and Gerry Hemingway.   

Ten albums of his music have been released since 1984, including Split Image, The Current Set (1987),  Desert Blue (1989),   Attack The Future (1992), Loopin' the Cool (1995), Fictionary (1998), Come Ahead Back (1998)   New School (2001). Verbs of Will (2004), and the newly released, Atomic Clock (2006).

A prolific composer, Helias has composed music for two feature films as well as chamber pieces and works for large ensemble and big band.   He has been producing recordings for other artists on the Gramavision, Enja, New World, Sound Aspects, and Avant/DIW labels.

His trio, Open Loose with Tony Malaby and Tom Rainey, has become an archetypal improvising ensemble on the New York scene.   Mr. Helias performs solo bass concerts and can also be heard in the innovative bass duo, "The Marks Brothers" , with fellow bassist Mark Dresser.   He teaches at Sarah Lawrence College, The New School and SIM (School for Improvised Music) and is committed to broadening the scope of musical education.


Robert Black

Écrit par Thierry Barbé. Posted in Classique

Robert Black's interests range from traditional orchestral and chamber music to solo recitals, collaborations with actors, music with computers, movement-based improvisations with dancers, and live action-painting performances with artists. He has commissioned, collaborated, or performed with musicians from John Cage to D.J. Spooky, Elliott Carter to Meredith Monk, Cecil Taylor to young emerging composers.

His recital activities frequently take him to five continents and has appeared at major festivals (Takefu International Music Festival, Japan; Festival de Eleazar Carvalho, Fortalzea, Brazil; Colombo-Catalan Festival, Medellin, Colombia; the Helsinki Festival; NYYD, Estonia; etc.), on radio and television broadcasts (Asia Live, Singapore, VPRO, Holland; NPR, United States; CBC, Canada; etc.) and as an artist-in-residence (American Center, Paris; the Banff Centre, Canada; Studio P.A.S.S., NYC).

Currently, Robert performs with the Bang On A Can All Stars, New York City’s hard-hitting new music ensemble. Additional chamber music activities include performances with the Ciompi and Miami String Quartets. He recently created and performed the music for Kathryn Walker and the Music Theater Group's production of The Odyssey, and with the Full Force Dance Company, Time On Our Hands. Other collaborations include films by Rudy Burckhardt and live action-painting improvisations with the Brazilian painter Ige D'Aquino. He annually appears at Monadnock Music and the Moab Music Festival among others. He also performs with the Hartford Symphony and the Monadnock Festival Orchestra. Robert maintains a full teaching schedule at The Hartt School at the University of Hartford, and at the Festival Eleazar de Carvalho (Brazil).

A recipient of numerous grants, he received a 1998 Bessie Award for his collaborative work with The School of Hard Knocks in NYC. His solo CDs are State of the Bass (O.O. Discs), The Complete Bass Music of Christian Wolff (Mode Records), The Complete Bass Music of Giacinto (Mode Records) and an up-coming 2 CD set of mid 20th Century American Bass Music. Robert has also recorded for Sony Classical, Point/Polygram, Koch International, CRI, Neuma Records, Gasparo, Opus One, Artifact Recordings, and Folkways Records.

Robert joined the 2001 International Society of Bassists (ISB) Board of Directors in 2001, and is the Director the ISB’s biennial International Composition Competition. He serves as the editor of the New Score column in the Journal Bass World. He recently completed a 5 year term on the Board of Directors for All Aboard, Inc., a Connecticut mass transit advocacy group.


Hubert Dupont

Écrit par Thierry Barbé. Posted in Classique

Hubert Dupont's musical experience is strongly oriented towards musical research as well as receptivity to new forms: from formal constraints to total improvisation; from pure acoustic to pure electronic…
Named "Revelation 2005" after his solo album Ultraboles, he leads "DUPONT T", inviting indo-new-yorker Rudresh Mahanthappa. He is a member of KARTET (since 1990 with Benoît Delbecq, Guillaume Orti, Chander Sardjoe), plays electric bass in THÔT, Stéphane Payen’s band ; he led the bands ALTISSIMO (1994-99) and DECOR (1997-2000).
Hubert was born in 1959 ; during the 1990s’, he was a parisian sideman as well as one of the animators of the new scene ; he performed, or recorded, with Robin Eubanks, Steve Lacy, Harold Land, Glenn Ferris, Stefano Di Battista, Fabrizio Cassol, Daunik Lazro, Steve Argüelles, Hasse Poulsen, Wolfgang Puschnig, Gabor Gado, Kamilya Jubran, Elie Maalouf, Brice Wassy, Hervé Samb, Fodé Diop...
He studied with bass master Jean-François Jenny-Clark, and occasionnally with Dave Holland, Paul Motian Trio, Miroslav Vitous, Don Cherry, Steve Swallow, ...

Hubert Dupont arpente les chemins secrets et tortueux des musiques créatives – improvisées ou préméditées – avec gourmandise…   Son parcours est à la fois entêté dans la démarche musicale, et ouvert à tous les sports : contraintes formelles ou bien improvisation totale ; pur-acoustique, ou tout-électronique…
Il mène le quartet DUPONT T, invitant Rudresh Mahanthappa ; en solo il est « révélation 2005 » dans Guitarist/Bass avec son album de contrebasse «Ultraboles».
Hubert Dupont est le contrebassiste de KARTET (depuis 1990 avec Benoît Delbecq, Guillaume Orti, Chander Sardjoe), et le bassiste très électrique de THÔT, le groupe de Stéphane Payen ; il mena les aventures ALTISSIMO (1994-99) et DECOR (1997-2000).
Depuis son arrivée à Paris en 1989, on l’a aussi vu et entendu avec Robin Eubanks, Steve Lacy, Harold Land, Glenn Ferris, Stefano Di Battista, Fabrizio Cassol, Daunik Lazro, Kamilya Jubran, Elie Maalouf, Hervé Samb, Brice Wassy, Fodé Diop...
Il a étudié avec Jean-François Jenny-Clark, et ponctuellement avec Dave Holland, Miroslav Vitous, Steve Swallow, ...


Jean-Jacques Avenel

Écrit par Thierry Barbé. Posted in Classique

Jean-Jacques Avenel is one of the most enthralling double bass players and most adventurous of the world jazz. His collaboration with Steve Lacy for twenty years, his multiple experiments (Paul Bley, Lee Konitz etc), his requirement, his integrity, his virtuosity, as well as a capacity to be called constantly in question, have done of him one of the Masters of his instrument.

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