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Sujet PLAISTOW the crow

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Sujet de la discussion PLAISTOW the crow
[b][insub33]PLAISTOW the crow[/b]
[url=http://www.insubordinations.net/releases33.html][img]http://www.insubordinations.net/insub/insub33_frontweb.jpg[/img][/url]

:post-jazz:
[i]melodies and returning motifs, written six-handed/introspective/explosive/between free jazz, sturdy groove and lyrical minimalism/The crow is a polymorph and untameable beast.[/i]

[b]Johann Bourquenez[/b]: piano
[b]Raphaël Ortis[/b]: bass
[b]Cyril Bondi[/b]: drums

[url=http://www.dincise.net/insub/insub33_Plaistow-the_crow.zip]+download+[/url] the complet album (49 min 03 / 320kbps mp3+cover / 120Mo)
[url=http://www.insubordinations.net]INSUBORDINATIONS[/url] netlabel.
a cd version is edited by [url=http://www.unitrecords.com/page.php?pid=1000&fid=1281]Unit records[/url].
artwork by  [url=http://thomasperrodin.blogspot.com/]Thomas Perrodin[/url].

[quote][url=http://www.edogm.net/plaistow][b]PLAISTOW[/b][/url].
One wonders how Plaistow manages to play together. The trio format is certainly a “classic” but the musicians seem to have far opposed interests. The jazz feeling of the drummer contrasts with the metal energy of the bassist and the electro attitude of the piano player. Cyril Bondi (dr) and Raphael Ortis (b) are both Geneva born and have been up and down the local scene with different bands in various styles. Johann Bourquenez has acquired his own experience in different regions of France before moving to Geneva in 2007.
The working method sprang to existence spontaneously. Letting the energies of each flow towards their natural points of conversion. Motifs that came up and stuck rather than rigid composition. Tracks constantly evolving, confronted to their own potential. The name is inspired by the Squarepusher track “Plaistow Flex Out” and eclectic references like “Steve Reich” and “Full CSS” show the will to include genres rather than to oppose them. Not easy things to achieve without loosing yourself. The two ingredients guarantying success were time and talent. Plaistow took of the first and brought on the latter.
Since their first album in 2007 “Los Criminales Reciclados En Conductores De Autobuses”, Plaistow overthrows conventions with energising music and high ambitions. From the start their music is distributed free on the Internet as well as sold in carefully produced physical CDs. The booklets designed by Thomas Perrodin, reflect their inspiration, one shows an comic book hero sprung from the imagination of the musicians. In 2008 Plaistow brings out their 2nd EP “Do You Feel Lucky” and collaborates with the Moroccan rapper Mobydick during a residency in Fès. An EP “Mobystow” is released in spring 2009. The band sound evolves towards yet more originality. This is rewarded with the ZKB-Jazzprice at the Moods in Zurich in June 2009. A 3rd EP “Jack Bambi” comes out and summons things up provisionnaly. Unreleased material, recorded at Studio 2 at the Swiss Radio DRS, the complete EP archives and a live performance filmed at the Zoo (Usine / Geneva) makes up this double album CD / DVD.
And then there’s this: a tour in the Middle-East, several weeks of residency in Vevey, concerts in Germany and Russia and studio sessions in Moscow, Paris and Zurich. This leaves Plaistow ready to release their first long play album “The Crow”. Recorded before Christmas, the album will be released in spring on Unit and the netlabel Insubordinations.

[b]THE CROW[/b]
[i]It’s taken almost three years from the founding of the band to releasing the first long play album. Three years and a great many concerts, rehearsals – experiments really – and always with the axiomatic will to listen, to give, share and receive attention. On these bases, themes were formed, melodies and returning motifs, written six-handed. Pieces that ended up forming solid compositions, and that’s what “the crow” is really all about.
From the introspective “Boomerang” right through to the explosive “Full CSS”, all the tracks undulate between free jazz, sturdy groove and lyrical minimalism but never at the cost of coherence. The eclectic influences won’t allow you to point to one major influence. One is reminded of the prepared piano by John Cage, but also of Lowell Davidson Trio or the pop influences of The Bad Plus. In a slightly paradox way it’s certainly through this radical open mindedness of the band that Plaistow’s style takes shape.
Adepts of categorisation and labelling, be aware, because Plaistow will only fugitively correspond to pre perceived categories. This is certainly part of the game plan and of the fun that the musicians have playing their music. Hide their tracks in order to surprise and ambush, comfort reflexes only to betray them right away, incorporate famous phrasings in order to play them out of context. Plaistow’s post-jazz as it can be heard on “The crow” is a polymorph and untameable beast.[/i]
[/quote]

[i]music under CC by.nc.nd, copy & share it, thanks[/i]

[img]http://www.insubordinations.net/insub/insub33_crow700205.jpg[/img]
2
Bon c'est vraiment parce que j'aime le jazz que je réponds parce que le message est bien pourri dans son genre (spam ? ça existe pour du jazz ?).

Le premier morceau sur vortre site :

Première constation : le choix d'une superposition de discours libres. Je pense que chaque partie est bien menée, il y a de la matière, de belles harmonies au piano, quelques recherches de son (un peu anecdotique le coup de frotter les cordes), une batterie foisonnante peut-être un peu forcée, presque caricaturale ...

Le choix a été fait de ne pas faire converger ces lignes ... Dommage, surtout que le morceau est assez court (est-ce un extrait ?). La personnalité du groupe n'est pas au premier plan dans cet essai.

Deuxième :

Intéressant ce thème. J'aime. Le fait de partir sur une ligne très dépouillée qui se décalle, et qui s'enrichit au piano c'est sympa. Morceau un peu Esbjorn Svennson dans l'esprit. Très aéré. Beau changement de climat ! Avec un son de basse bien sale. Cependant, ce passage relève de l'anecdote puisqu'il n'est pas développé, et sonne un peu creux à cause de l'absence du piano et aucune prise de parole ni de la part de la basse ni de la batterie. Cependant le morceau reste très intéressant.

Troisième :

On cerne un peu mieux le groupe, le son. Ambiance ...

Par contre pourquoi post-jazz ? Pour définir le post-jazz, il faudrait définir le jazz, et là, bonne chance ! 

Bon je m'arrête là parce que j'ai l'impression que j'écris dans le vide, je viens de lire le texte c'est de la bio copiée collée même pas dans la langue du forum. Si quelqu'un pouvait me répondre pour qu'on parle un peu de ce groupe et que j'aie pas perdu mon temps.  
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