Two major works of evolving acoustic soundscape from Swiss violinist & composer Patricia Bosshard realized by the 27-member Orchestra des Nouvelles Creations, which includes Bosshard, Stephane Rives, Bertrand Denzler, &c.; "Sillon" employs a percussive pulse over 27 independently transforming grooves; "Reflets" a harmonic composition for bowed strings, including three double basses.
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Patricia Bosshard-violin, composer
Sebastien Beliah-double bass
Benjamin Duboc-double bass
Frederic Marty-double bass
Felicie Bazelaire-cello
Anais Moreau-cello
Deborah Walker-cello
Cyprien Busolini-viola
Elodie Gaudet-viola
Julia Robert-viola
Pierre Cussac-cccordion
Giani Caserotto-guitar
Jean-Sebastien Mariage-guitar
Antonin Gerbal-percussion
Julien Loutelier-percussion
Alvise Sinivia-piano
Arnaud Riviere-electronics
Diemo Schwarz-electronics
Jean-Brice Godet-clarinet
Joris Ruhl-clarinet
Stephane Rives-soprano saxophone
Pierre-Antoine Badaroux-alto saxophone
Carmen Lefrancois-alto saxophone
Bertrand Denzler-tenor saxophone
Benjamin Dousteyssier-baritone saxophone
Jean Daufresne-Euphonium
Louis Laurain-trumpet
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UPC: 3491570003626
Label: Potlatch
Catalog ID: P221
Squidco Product Code: 31204
Format: CD
Condition: New
Released: 2021
Country: France
Packaging: Cardboard Gatefold
Recorded at Saint-Merry Church, in Paris, France, on June 28th, 2018, by Baptiste Chouquet.
"Patricia Bosshard's compositions performed by ONCEIM and string ensemble CoO Recorded on June 2018 at Saint-Merry church (Paris)To interpret her two compositions, "Sillons" and "Reflets", Patricia Bosshard could not have hoped for better than the ONCEIM and the CoO ensemble, two groups of which she is also a member as a violinist. These two ensembles bring together instrumentalists of a very high level, from very diverse musical backgrounds: improvised music, jazz, free jazz, classical and contemporary music, experimental music.
The collaboration between the musicians and the composer is organized around playing modes that favor minimalist and innovative forms. The scores allow the musicians to experiment with the proposed material, and to appropriate the form, while highlighting the sound potential of the collective."-Potlatch
"With "Sillons" I went to meet each of the musicians in order to record what I would call a heart cell: A loved sound, a gesture, a short sentence. The successful harvest allowed me to create a field of 27 furrows, small, deep channels ready to subtly transform over time.
With these various grooves, I composed a repetitive, bewitching piece which, in its form, evolves from the individual to the large orchestra, including groups and sub-groups united by affinities of material, timbre, sound. The result is an orchestral material of unheard-of richness, a field of possibilities where each musician plays only with his cell, kneaded, hollowed out and associated with other cells.
The "Reflections" composition revolves around harmonics. Bowed string instruments generate a lot of harmonics, which is one of their richness and the specificity of their timbres. I analyzed which harmonics emerge according to the playing mode: bow halfway between the bridge and the fingerboard (usual), bow near the bridge (ponticello) and bow close to the fingerboard. I redistributed these harmonics within the ensemble, played at different octaves, as notes, as harmonics or even ponticello, thus generating new harmonics. The playing modes are defined by the desire to create an atmosphere which oscillates between affirmation and suggestion, led by repetitive gestures which leave a part of improvisation to the performer as to the full or harmonic sound."-Patricia bosshard
"Aside from the music, the best thing about this album is that its release signals the Potlatch label is alive and well. (Having released four CDs in 2016 and three in 2017, Potlatch released none in 2018, one in 2019, none in 2020.) In addition to this album, 2021 sees the release of a second, a duo album by Pascal Battus and Michel Doneda. Good news.
The music itself comprises two 2018 compositions-"Sillons" and "Reflets"-by violinist Patricia Bosshard, who was born in Switzerland, studied classical music in Montreal then composition and electroacoustics in Geneva, then jazz in Lausanne. The two pieces are, respectively, played by the 26-member orchestra Onceim (Orchestra des Nouvelles Creations, Experimentations et Improvisations Musicales)-which includes such experienced improvisers as Bertrand Denzler, Stephane Rives and Jean-Sebastien Mariage-and by the string ensemble CoO; Bosshard plays violin in both. This means that she knew the musicians she was writing for as she had frequently played alongside them. "Sillons" runs for thirty-and-a-half minutes, "Reflets" for eighteen-and-a-half. So, two different pieces for two very different ensembles.
Opening to the sound of slow resounding percussion, "Sillons" evolves steadily without any sudden movements or surprises along the way. The number of players in Onceim ensure that there are enough instruments present to easily fill out the soundscape. To Bosshard's credit, she uses them sparingly and sensibly so that they never sound as if they get in each other's way. Throughout, the heartbeat of the piece is provided by that resounding percussion, with other instruments layered above the pulse. Despite the presence of those improvisers, none of the music here sounds improvised; instead, everything sounds planned, with everyone knowing what they are doing, and all of the component parts combining together into an entrancing whole, one which handsomely repays repeated listening.
Although it is very different to "Sillons," "Reflets" does have its similarities, despite all the instruments being strings. For instance, Bosshard makes good use of the three double basses at her disposal to lay down a solid foundation, with resounding bass sounds recurring throughout. Again, all the players contribute to the totality, with everyone doing their part and no one noticeably dominating. Together, the two tracks make this an album which will stand the test of time and merit frequent listening. Yes, Potlatch is back with a vengeance..."-John Eyles, All About Jazz
Get additional information at All About Jazz
Artist Biographies
• Show Bio for Patricia Bosshard "Patricia Bosshard is a composer and violonist from Lausanne in Switzerland, having a musical background both in jazz as well as in electronics. Besides numerous gigs in the free impro-scene as soloist, with small groups or in big orchestras (ONCEIM, IMO), she collaborates with the video artist Nicolas Wintsch, composes orchestral music for film and for contemporary ensembles. She produced the acoustic signals for the Metro M2 in Lausanne. Winner of the Luffʼs price with Simon Grab with the MRI project, electronicmusic with MRI sounds. Artist resident at the Steim in 2012, working on a sensorbow. Her language elaborates a very fine listening into the sound." ^ Hide Bio for Patricia Bosshard • Show Bio for Sebastien Beliah "Sébastien Beliah is a Paris-based double bass player and composer. His work is mainly focused on improvisation and oral composition (R.mutt), relationship between composed music and improvisation (Ensemble Hodos), and jazz (Umlaut big band, The Coquettes, Un poco loco). As a double bass player, Sébastien Beliah has performed solo pieces from Hans-Joachim Hespos, James Tenney or Kenneth Gaburo among others. He is also doing improvised solo performance. As a composer, his pieces has been performed by musicians like Félicie Bazelaire, Pierre Borel, Hannes Lingens or the large ensemble ONCEIM. Sébastien Beliah is also deeply involved in the field of education, and teach double bass, jazz and improvisation at the Conservatoire de Reims." ^ Hide Bio for Sebastien Beliah • Show Bio for Benjamin Duboc "Benjamin Duboc is a very strong voice on double bass, born 1969, studied with JF Jenny-Clark & Bernard Cazauran, and has played with many great musicians (as Ernest Dawkins, Bertrand Denzler, Roy Campbell, Jean-Luc Cappozzo, Sabir Mateen, Byard Lancaster, Daniel Erdmann, Abdelahaï Bennani, Michel Doneda, Daunik Lazro, Sunny Murray, John Betsch...). And also with Henry Grimes for a great duet in Paris. He leads the "Nuts" quintet with Itaru Oki & Rasul Siddik on trumpets, & Makoto Sato & Didier Lasserre on drums. He plays in "The fish" with Jean-Luc Guionnet on alto sax & Edward Perraud on drums (double cd on Ayler Records) and Rocks in the Sea with Mario Rechtern, Eric Zinman and Didier Lasserre. Benjamin has a beautiful and big sound, you really feel the ground while hearing him... it's somethin' ! He also is recorded on Amor Fati, Futura Marge, Creative sources, le petit label, sansbruit." ^ Hide Bio for Benjamin Duboc • Show Bio for Felicie Bazelaire "Felicie Bazelaire is a cello and double bass player based in Paris. She shares her time in different ways : between concerts and performances, studying pedagogy through a Masters degree at the Conservatoire National Supérieur de Paris, and teaching at the Orsay and Auxerre's conservatory. She is interested in classical music (chamber music) and contemporary music with her solo projects (improvisation, compositions, performances/actions...), the Hodos ensemble and the ONCEIM (a french improvised large orchestra led by Frederic Blondy). She is curious about the link between musicians, composers, improvisers and the actual music." ^ Hide Bio for Felicie Bazelaire • Show Bio for Anais Moreau "Anaïs Moreau - cello - Graduated from the Royal College of Music in London ; plays with Nomos, Laborintus, IMPACT, WARN!NG ; works with various composers such as Tomas Bordalejo, Stefano Bonilauri, François Rossé etc ; teaches cello at the Pantin conservatory." ^ Hide Bio for Anais Moreau • Show Bio for Deborah Walker "Deborah Walker is a new music performer and improviser based in Paris. She was born in Reggio Emilia, Italy, in 1981 and studied cello in her hometown. After graduating she moved to Paris to continue her cello studies with Agnès Vesterman and Anssi Karttunen. Since 2007 she is a member of Dedalus, a variable ensemble which plays experimental and contemporary music, who has collaborations, among others, with Tom Johnson, Pascale Criton, Christian Wolff, Antoine Beuger and Jurg Frey. Deborah Walker has collaborated with artists like Joëlle Leandre, Markus Stockhausen, Garrett List and Teri Weikel. She's currently working with composers Pascale Criton and Eliane Radigue in pieces for solo cello or small ensembles. She has played in many festivals such as I Suoni delle Dolomiti, Italia Wave, ZKN in Karlsruhe, Festival d'Avignon, Festival Nomad in M'Hamid (Morocco), Ze Couch (New York) and tours regularly around Europe. She also takes part in theater, dance and circus performances, both as composer and performer. Deborah is doing a Master in Sound and Music Composition at the University of Paris 8 (St. Denis). Her recordings include works by Tom Johnson played by the Dedalus Ensemble (New World), a live recording of the intuitive music quintet Flowers of Now(21st Records) as well as Frammenti di Scrittura Prematura (Imprint Records) and Imagine Book (ILDE)." ^ Hide Bio for Deborah Walker • Show Bio for Cyprien Busolini "Cyprien Busolini: violist Born in 1978. After classical studies of viola, Cyprien Busolini focuses mainly on contemporary repertoire and improvisation. He obtained a first viola prize at the CNR Rueil-Malmaison in the class of Françoise Gneri, then he perfected with P.Faure and P.H.Xuereb. His great interest in contemporary music and especially new works allows him to work with many composers like L.Naon, HULehmann, T.Johnson, JLGuionnet ... He has also played or created some of their solo pieces or sets. Improvisation allows him to work on other sound fields and to explore his instrument in a more personal way, notably on non-melodic and non-harmonic parameters but more focused on the matter of sound. Regularly, he works with dancers, actors, either in improvisation or for shows whose musical part he elaborates. On the other hand, he occasionally runs improvisation workshops for children. He currently plays in different ensembles, Dedalus, Onceim, and various groups of improvisation as well as in the whole Fratres, old music ensemble on old instruments. He has made several solo or Dedalus ensemble recordings, the Diagonal ensemble, but also with Garth Knox and various improvisational discs." ^ Hide Bio for Cyprien Busolini • Show Bio for Jean-Sebastien Mariage "Born in Paris in 1973 and raised in the middle class suburbs, it's on the clotheslines at the end of the garden that Jean-Sébastien Mariage gets introduced to the guitar, well before the transmutation of his BEPC in black Stratocaster, changed very quickly for the Gibson Les Paul he has not dropped since. At 17 and up to 23, he follows the improvisation workshops of the one he still considers today as his music master, Patricio Villarroel. From his brief stint at the Sorbonne, a musicology course, he will remember little more than having heard, during the acoustics lessons, recordings of songs by Amazonian Indians or Vatican bells : it is that at the same time, true musical adventure began - first professional experience at age 19 with a dance company, then meeting at 20's Frederick Galiay, bassist with whom he founded Chamæleo Vulgaris, and first concerts under the aegis of Instants Chavirés. He goes on concerts, then thinks it would be good for him to enter the concervatory (sic), since that's where you learn to play concerts : he studied classical guitar for six years , until the national contest in 2000. There followed a good twenty recordings and hundreds of concerts, solo or in various formations, stamped free improvisation, free rock, even free jazz or noise, with the greatest achievements of French and international improvisers - not to mention collaborations with dance (Karol Armitage or Yukiko Nakamura), theater, poetry and visual arts, but also with composers such as Rhys Chattam, Elianne Radigue, Stephen O'Malley, Frederick Galiay, Peter Ablinger.... In short, a journey is, according to, purist or monomaniac : there has never been, there is, and there will never, probably, that the guitar, he can only do that, but knows how to do everything with it - especially what he is the only one who can do, of course. To know : calmly, with authority, to emerge from the chaos a matter, whatever it is to accept it, to welcome it even, then conscientiously to work it, to polish it... but always to the maximum, and then to a blow of one make him make throat. Leave the earth. Tear the time." ^ Hide Bio for Jean-Sebastien Mariage • Show Bio for Antonin Gerbal "Since the release of File under: Bebop - Peeping Tom in 2009, Antonin Gerbal has developed his own approach of the drums - reinterpreting history of jazz drumming through the prism of european musical improvisation. Improviser, composer, teacher and performer, Antonin Gerbal is associated with the vitality of the Parisian music scene, notably through Umlaut Records. He has performed in Europe, U.S., Russia and Japan, with many original projects such as Nakasanye, Zoor, ISM or Peeping Tom. Involved in large ensembles such as ONCEIM (playing pieces Eliane Radigue or Stephen O'Malley) and Umlaut Big Band (swing dancing band), Antonin Gerbal works regularly with English, German, Swiss and Japanese artists. At the begining of 2016, he releases his solo works called Sound of Drums." ^ Hide Bio for Antonin Gerbal • Show Bio for Jean-Brice Godet "Jean-Brice Godet starts clarinet at 8 years old at Colombes conservatory, where he was born, in Paris suburbs. Albert Ayler, Sonic Youth, György Ligeti, Duke Ellington and Buddy Guy, what convince him to use the way of free improvisation, The advices of Bernard Lubat, Louis Sclavis and Joëlle Léandre. In 2004, he gets a master in Computer Music Research (ATIAM) at Pierre and Marie Curie University And at IRCAM, and complements is musical education with the highest distinction of Gennevilliers Conservatory of Music, under the aegis of Nicolas Baldeyrou (solo-clarinet of the Philharmonic Of Radio-France "). With the In Sit-U collective he meets Fred Frith and works two weeks with him On an original creation. Few times later the joins the quintet Fröhn and plays on prestigious courses Like Le Petit Faucheux (Tours) or on the famous improv'music The Improviste . He creates his first silent-movie / live-music in 2004 on Le Ra t by Christophe Ali and Nicolas Bonilauri, silent movie in black and white realesed in 2000. The second one, create in 2011, on Berlin, die sinfonie der grosstatd (Walter Ruttmann, 1927) is a joint commission of SACEM and The City of Gennevilliers prompted by Bernard Cavanna . He plays since 2009 with Pablo Cueco ( Erythropus Quartet , The Ball Of The Contemporary ...) and With Anthony Braxton and Walter Thompson in 2010 in Brooklyn for a week of soundpainting Performance. He curates and played in Amok'Improv ' nights a dedicated improvised music serie With Sylvain Cathala and Fred Maurin between 2010 and 2012. He creates the MujôQuartet in 2012 in Brooklyn with Michaà "l Attias , Pascal Niggenkemper and Carlo Costa , in which they play his compositions, working on impermanence and imperfection. They Play in Paris and New York. He is co-leading also two trios, Zaal33 with Brussels-based Richard Comte (guitar) and Jean- Philippe Feiss (cello), and Capsul with England-based Matthew Bourne (piano) and EglishFrench Tam De Villiers (guitar). He collaborates regularly with Joëlle Léandre since 2012 in a few projects: a slient-movie / live-music Concert Mélies / Leandre , her new tentet Can You Hear Me? , And a new co-leaded quartet Ground (s) W / Mike Ladd (voice) and Benjamin Sanz (Drums)." ^ Hide Bio for Jean-Brice Godet • Show Bio for Joris Ruhl "After having studied classical music with Jacques Di Donato, Joris Rühl oriented himself towards contemporary music, written, improvised and jazz, with a predilection for projects blurring the borders between these different labels. He plays with contemporary music ensembles like L'Instant Donné or Hiatus, with jazz ensembles like TØRN, Hübsch 8, Simon Rummel Ensemble and with the experimental music ensembles ONCEIM and Spat' Sonore. He also improvises with, among many others, Michel Doneda, Thierry Madiot, Isabelle Duthoît, Eve Risser, Antez. His discography includes discs released under the labels Neos Jazz, Satelita, OBS and Umlaut Records. Beside this activity of musician, he also works on films and experimental videos." ^ Hide Bio for Joris Ruhl • Show Bio for Stephane Rives "Stéphane Rives is part of the current of an improvisation of materials and textures more than games and themes. More trivially, a fucking sound that torments the eardrum and drives the hammers into a panic, opening up gulfs in the understanding. Double simultaneous sounds, high pitch in the splendid isolation of the peaks and breath close to asthma, close to sinewave and the wind which passes in force under the door. The result is a strange almost disturbing abstraction, so much we no longer hear a saxophone but something quite different, without being able to name this something else. Do not believe that there is a feat here, that in the end it would only be due to technique, to a power of dissimulation, that would be little in the eyes of music. In the granulations, we reach such a decomposition of what constitutes music for academies, that we are literally stunned, pierced by this sonic twist, a metal sander applied to the human ear, revolving sounds tearing shavings from our cultural foundations, uncertainty of what and how."-Michel Henritzi - Review & Corrected ^ Hide Bio for Stephane Rives • Show Bio for Pierre-Antoine Badaroux "Pierre-Antoine Badaroux is a Paris-based alto saxophone player, composer and producer. He is working as a freelance composer since 2006, focusing on relations between sound, notation and the role of the musician in an ensemble. In 2008 he became an active member of record label and collective Umlaut Records, producing his own albums from the deconstructed Bebop of Peeping Tom to the original Composition No. 6, to a historical project on arrangers of Swing music with Umlaut Big Band that he leads, to the improvised music of r.mutt." ^ Hide Bio for Pierre-Antoine Badaroux • Show Bio for Bertrand Denzler ^ Hide Bio for Bertrand Denzler • Show Bio for Louis Laurain "Louis Laurain is a trumpet player, improviser and composer, based in Paris. Born in 1984, he taught himself to play the trumpet and then studied jazz and improvisation at the conservatories of Lyon (CNR) and Paris (CNSMDP). While developing his own personal and original language on his instrument, he researched, through different collaborations, an intuitive and spontaneous approach to sound. His interest is essentially in different forms of improvised sound for various formations,ranging from solo to orchestral.His work is focused principally on two topics. Firstly an acoustic approach to instruments through research on sounds and sound effects in relation to the space in which they are produced. Secondly work on the amplification of instruments ("close miking") with the aim of creating the illusion of an electric or electronic "machine instrument". He collaborated with Eliane Radigue, Stephen o'Malley (Sunn O ))), Pierre Huyghe, Axel Dorner, Nicolas Collins, Yves-Noel Génot, Jérome Noetinger, Zombie-Zombie, Pierce Warnecke, Polyversal souls, Tobias Delius, Arnaud Rivière, Xavier Charles, Ignaz Schick, Joel Grip, Frédéric Blondy." ^ Hide Bio for Louis Laurain
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Track Listing:
1. Sillons 30:29
2. Reflets 18:32
Compositional Forms
Improvised Music
European Improvisation, Composition and Experimental Forms
Large Ensembles
Stringed Instruments
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| With mystery and drama the duo of clarinetist Sylvain Kassap and double bassist Benjamin Duboc start their performance with whisperings, Kassap's expanded range and vocabulary on the clarinet evocative against Duboc's strong bowing and plucking, as they both take their listeners across a tightrope of carefully balanced, masterfully evolving free conversation. | |
 | Umlaut Big Band Plays Don Redman: The King Of Bungle Bar (Umlaut Records) |
| Don Redman was an American big band leader popular in the 1930's, responsible for work on animations, sound tracks, and recordings of pre-swing hot jazz arrangements of popular tunes; here the French Umlaut Big Band under the direction of Pierre-Antoine Badaroux pays homage to his music in rich orchestration showing the melodic, inventive, and complexities of Redman's music. | |
 | Denzler / Grip / Johansson Zyklus 1 [2 CDs] (Umlaut Records / SAJ) |
| Exploring new ways of interplay within a classic jazz trio setting, "Zyklus 1" or "Cycle 1" is the 3rd album from the trio of Bertrand Denzler on tenor saxophone, Joel Grip on double bass, and Sven on Ake Johansson on drums, a double CD + poster of four improvisations that reference "Time" through masterful technique and superb collective free jazz. | |
 | Ruhl, Joris Toile, Etoiles (Umlaut Records) |
| Four improvisations in a series titled "Etoile" [star] and one composition using graphic notation titled "Toile" [canvas], from French clarinetist Joris Rhule, working with multiphonics and extended harmonic technique to extoll unusual sonorities from the single reed instrument, from fragile to forceful, fascinating examples of extreme sonic exploration. | |
 | Musaeum Clausum Musaeum Clausum (Umlaut Records) |
| Musaeum Clausum is a French-German trio that features Louis Laurain on cornet (Die Hochstapler, Umlaut Big band, ONCEIM), Hannes Lingens on drums (Obliq, Konzert Minimal) and Sebastien Beliah on bass.(Un Poco Loco, Ensemble Hodos, Umlaut Big Band), in an album of patiently developing improvisation giving each player freedom and flexibility within a composed framework. | |
 | Beliah, Sebastien Nocturnes (Umlaut Records) |
| Sebastien Beliah is a Paris-based double bass player, a member of Umlaut Big Band, The Coquettes, Un poco loco, &c., here in a solo album of bass noir, dark and resonant tones evoked through strong bowing, finding harmonics between the strings and from the instrument itself, creating beautiful passages in a mirage of engulfing deep timbre. | |
 | Costa's Acustica, Carlo Strata (Neither/Nor Records) |
| New York composer and drummer Carlo Costa assembled this accomplished ensemble of NY improvisers for a live performance at IBeam in Brooklyn, capturing his piece "Strata" that evolves layers of sound from very sparse to densely yet accesibly stacked sound, varying recurring material to change perspectives in the aural space as the piece progresses; impressive. | |
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