Attica Blues Big Band, the project - Planete-Aurora
Attica Blues Big Band, the project - Planete-Aurora
Attica Blues Big Band, the project - Planete-Aurora
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A t t i c a B l u e s<br />
B i g B a n d<br />
a c o p r o d u c t i o n A r c h i e b a l l - J a z z à P o r q u e r o l l e s - C N D C C h â t e a u v a l l o n<br />
F e s t i v a l J a z z à L a V i l l e t t e<br />
b o o k i n g A r n a u d G r a n e t ( P l a n e t e A u r o r a ) : a r n a u d @ p l a n e t e - a u r o r a . f r<br />
T e l : 0 0 3 3 6 6 6 8 2 6 3 7 7
sommaire<br />
<strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> band, <strong>the</strong> <strong>project</strong><br />
Agenda & Line up<br />
Archie Shepp<br />
Artists (main musicians)<br />
2 - 4<br />
5<br />
6<br />
7- 14<br />
1
<strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> <strong>Band</strong>, <strong>the</strong> <strong>project</strong><br />
40 years after Impulse released <strong>Attica</strong> <strong>Blues</strong>, true manifesto of <strong>the</strong> Great Black Music, and<br />
for Archie Shepp 75th birthday, we - Archieball, Jazz à Porquerolles, and Châteauvallon<br />
national centre of creation - want to revisit this monument of Jazz history along with <strong>the</strong><br />
new generation of musicians : composed by a intimate team near by Archie Shepp, classical<br />
African American jazzmen and new comers, followed by <strong>the</strong> finest young jazzmen and<br />
jazz-women of <strong>the</strong> south west, <strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> <strong>Band</strong> writes <strong>the</strong> story of contemporary jazz<br />
music, somewhere between historical jazz and modern and inventive streams.<br />
For Jazz in Porquerolles,<br />
it’s also about going fur<strong>the</strong>r<br />
and deeper into partnerships<br />
that have already<br />
started with musicians such<br />
as Raphaël Imbert, Marion<br />
Rampal, met during <strong>the</strong>ir<br />
appearances at <strong>the</strong> Jazz in<br />
Porquerolles young musicians<br />
contests. To some extent,<br />
<strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> <strong>Band</strong><br />
in a unique experience of<br />
sharing and an opportunity<br />
for young musicians<br />
to be confronted with <strong>the</strong><br />
shinning sources of jazz<br />
history.<br />
Why <strong>the</strong> location of Châteauvallon ? As a historical hosting place of free jazz, as a pioneer<br />
in <strong>the</strong> concept of « jazz music festival «, as one of <strong>the</strong> most dynamic concert hall of Archi<br />
Sheep in <strong>the</strong> early 70’s, Châteauvallon <strong>the</strong>atre is naturally <strong>the</strong> ideal centre of creation for<br />
<strong>Attica</strong> <strong>Blues</strong>.<br />
Archieball is <strong>the</strong> «home» of Archie Shepp : a label (distributed by Harmonia Mundi) and<br />
an artistic company, created in France eight years ago. Archieball is, judging by his skills<br />
in producing disks and his broadcasting network, <strong>the</strong> ideal co-producer for this <strong>project</strong>.<br />
2
<strong>Attica</strong> <strong>Big</strong> <strong>Band</strong>, <strong>the</strong> <strong>project</strong><br />
<strong>Attica</strong> <strong>Blues</strong>, born in 1971, is on <strong>the</strong> one hand a <strong>Big</strong> <strong>Band</strong> in it’s fourth incarnation, and on<br />
<strong>the</strong> o<strong>the</strong>r hand a music collection that has been accumulated for years.<br />
The artwork of Archie Shepp is at a crossroad, a meeting point between politic and art, where<br />
Black Musics meet <strong>the</strong>ir «sophisticated» cousins and descendants - a gap that <strong>Attica</strong> <strong>Blues</strong><br />
overcomes. It’s a collision between all <strong>the</strong> rhythms, <strong>the</strong> swings and <strong>the</strong> grooves of <strong>the</strong> Great<br />
Black Music through <strong>the</strong> years.<br />
It’s an expression of <strong>the</strong> black identity, political and artistic, that never stopped and has been<br />
reinvented all along it’s history. Giving birth again to this <strong>project</strong> in Europe makes sens<br />
because it’s still really modern. Because <strong>the</strong> fight and <strong>the</strong> music of blacks deeply influenced<br />
world culture, and because it has been led since it’s creation by a musician and an activist,<br />
who was situated precisely at this crossroad, all along it’s 55 years old career.<br />
Archie Shepp embodies in a unique and powerful way <strong>the</strong> African-American experience. His<br />
music, his songs, his voice, and even <strong>the</strong> way he walks are representative of <strong>Blues</strong> music. He<br />
was born in a time of segregation, in <strong>the</strong> black ghetto of Fort Lauderdale, a short time after<br />
Rubin Stacey was beaten to death because he was black. He witnessed <strong>the</strong> Civil Right movement,<br />
<strong>the</strong> Black Power - and got actively involved in New York at <strong>the</strong> age of twenty - <strong>the</strong><br />
revolutions, <strong>the</strong> repressions and <strong>the</strong> deceptions.<br />
He is one of <strong>the</strong> leaders of Free Jazz, a very radical music because it is close to <strong>the</strong> roots of<br />
black music and is influenced by it’s history, ( collective improvisation, commitment, narrative<br />
dimension, folk form, souvenirs of <strong>the</strong> African past...) and at <strong>the</strong> same time deeply new,<br />
even revolutionary.<br />
On September 13th 1971, <strong>the</strong> state governor of New York, Nemson Rockefeller, put and<br />
end to <strong>the</strong> negotiations with <strong>the</strong> mutinies of <strong>Attica</strong> Detention Centre and decided to take it<br />
by force. It turned out that 9 out of 10 hostages got killed by <strong>the</strong> police. During weeks after<br />
<strong>the</strong> uprising, <strong>the</strong> guardians, all white, got revenge - humiliations, tortures - on <strong>the</strong> prisoners.<br />
60% of <strong>the</strong>m were black. The prison authorities knew and didn’t do anything to stop it.<br />
As a reaction, a short time after, Archie Shepp composed and recorded <strong>Attica</strong> <strong>Blues</strong>. This<br />
music is a patchwork of spiritual music, blues music, ellingtonian orchestrations or funk. The<br />
whole <strong>project</strong> in also influenced by free music... From anger to joy, from sadness to hope ...<br />
It is deeply one.<br />
Beyond <strong>the</strong>ir diversity, it expresses <strong>the</strong> unity of <strong>the</strong> African Americans, <strong>the</strong>ir history, <strong>the</strong>ir<br />
aes<strong>the</strong>tic creations and political ideas. In 1979, during a concert to be remembered at <strong>the</strong><br />
Palais des Glaces, that was recorded live, Archi Sheep set <strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> <strong>Band</strong> up again and<br />
added new tracks, always aiming at <strong>the</strong> same goal.<br />
3
<strong>Attica</strong> <strong>Big</strong> <strong>Band</strong>, <strong>the</strong> <strong>project</strong><br />
Since <strong>the</strong>n, Shepp never stopped working on <strong>the</strong> African American heritage, more particularly<br />
those last few years with rap musicians (Chuck D from Public Enemy, Napoleon Maddox,<br />
Rocé) continuing <strong>the</strong> story with <strong>the</strong> last born of <strong>the</strong> popular black music stream.<br />
Following that pattern, <strong>Attica</strong> <strong>Blues</strong>, won’t lose it’s identity, deeply black and American, and<br />
is opened to new compositions and to a new generation of musicians. As a matter of fact, to<br />
a whole continent of musicians.<br />
All along <strong>the</strong> 20th century up to today, <strong>the</strong> influence of black culture has never stopped<br />
spreading. There is very few modern musics that are not influenced by it. The struggle for<br />
freedom of <strong>the</strong> African Americans was an example to <strong>the</strong> world.<br />
The strong link between «avant-garde» and popularity, that makes that culture so dynamic,<br />
has inspired many artistic movements. Those movements found <strong>the</strong>ir strength and <strong>the</strong>ir roots<br />
in <strong>the</strong> Brut. This simple listing aims at explaining <strong>the</strong> universal goal of <strong>Attica</strong> <strong>Blues</strong>. And<br />
creating this new group, as a melting pot of generations and cultures makes sens : it’s <strong>the</strong><br />
reflection of <strong>the</strong> universal.<br />
Martin Sarrazac<br />
4
Agenda & Line up<br />
Line up<br />
Twenty six musicians are in <strong>the</strong> band :<br />
Archie Shepp Sax/vocal<br />
Jimmy Owens conductor<br />
Amina Claudine Myers choir/piano<br />
Tom McClung piano<br />
Marion Rampal choir<br />
Cécile McLorin Salvant choir<br />
Ambrose Akinmusire trumpet<br />
Izidor Leitinger trumpet<br />
Christophe Leloil trumpet<br />
Olivier Miconi trumpet<br />
Sébastien Llado trombone<br />
Michael Ballue trombone<br />
Simon Sieger trombone<br />
Romain Morello trombone<br />
Darryl Hall bass<br />
Francois Théberge sax tenor<br />
Virgile Lefebvre sax tenor<br />
Raphaël Imbert sax alto<br />
Olivier Chaussade sax alto<br />
Jean Philippe Scali sax baryton<br />
Famoudou Don Moye drums<br />
Louise Rosbach cello<br />
Antoine Carlier alto<br />
Steve Duong violin<br />
Manon Tenoudji violin<br />
Pierre Durand guitar<br />
Agenda<br />
- June 18th -22nd 2012 - Creation - CNCDC Châteauvallon<br />
- September 9th 2012 - Concert in Jazz à la Villette Festival<br />
- May 2013 - album live release - Archie Shepp <strong>Attica</strong> <strong>Blues</strong> <strong>Big</strong> band<br />
-Spring - Summer 2013 European Tour<br />
5
Archie Shepp<br />
Saxophone player, composer, pianist, singer, politically committed poet, playwright,<br />
Archie Shepp is a legend.<br />
Archie Shepp was born in 1937 in Fort Lauderdale in Florida. He grew up in Philadelphia,<br />
studied piano and saxophone and attended high school in Germantown ; he<br />
went to college, became involved with <strong>the</strong>atre , met writers and poets, among <strong>the</strong>m,<br />
Leroy Jones and wrote : « The Communist », an allegorical play about <strong>the</strong> situation<br />
of black Americans . In <strong>the</strong> late fifties, Archie Shepp also met <strong>the</strong> most radical musicians<br />
of <strong>the</strong> time : Lee Morgan, Bobby Timmons, Jimmy Garrisson, Ted Curson,<br />
Beaver Harris… his political consciousness found an expression in plays and <strong>the</strong>atrical<br />
productions which barely allowed him to make a living. In <strong>the</strong> beginning sixties he<br />
met Cecil Taylor and did two recordings with him which were determining. In 1962<br />
he signed his first record with Bill Dixon as co-leader. During <strong>the</strong> following year, he<br />
created <strong>the</strong> New York Contemporary Five with John Tchichai, made four records for<br />
Fontana, Storyville and Savoy and travelled to Europe with this group.<br />
Starting in August 1964, he worked with Impulse and made 17 records among which, Four For Trane, Fire<br />
Music, and Mama Too Tight, some of <strong>the</strong> classics of Free Music. His collaboration with John Coltrane materialized<br />
fur<strong>the</strong>r with Ascension in 1965, a real turning point in Avant-Garde music. His militancy was evidenced<br />
by his participation in <strong>the</strong> creation of <strong>the</strong> Composers Guild with Paul and Carla Bley , Sun RA, Roswell Rudd<br />
and Cecil Taylor.<br />
In July 1969 he went for <strong>the</strong> first time to Africa for <strong>the</strong> Pan African Festival in Algiers where many black American<br />
militants were living. On this occasion he recorded Live for Byg <strong>the</strong> first of six albums in <strong>the</strong> Actual series.<br />
In 1969 he began teaching Ethnomusicology at <strong>the</strong> University of Amherst, Massachusetts; at <strong>the</strong> same time he<br />
continued to travel around <strong>the</strong> world while continuing to express his identity as an African American musician.<br />
The dictionary of Jazz (Robert Laffont, Bouquins) defines him in <strong>the</strong> following way : « A first rate artist and<br />
intellectual, Archie Shepp has been at <strong>the</strong> head of <strong>the</strong> Avant- Garde Free Jazz movement and has been able to<br />
join <strong>the</strong> mainstream of Jazz, while remaining true to his es<strong>the</strong>tic . He has developed a true poli-instrumentality:<br />
an alto player, he also plays soprano since 1969, piano since 1975 and more recently occasionally sings blues<br />
and standards. »<br />
He populates his musical world with <strong>the</strong>mes and stylistic elements provided by <strong>the</strong> greatest voices of jazz: from<br />
Ellington to Monk and Mingus, from Parker to Siver and Taylor. His technical and emotional capacity enables<br />
him to integrate <strong>the</strong> varied elements inherited by <strong>the</strong> Masters of Tenor from Webster to Coltrane into his<br />
own playing but according to his very own combination : <strong>the</strong> wild raspiness of his attacks, his massive sound<br />
sculpted by a vibrato mastered in all ranges, his phrases carried to breathlessness, his abrupt level changes , <strong>the</strong><br />
intensity of his tempos but also <strong>the</strong> velvety tenderness woven into a ballad. His play consistently deepens <strong>the</strong><br />
spirit of <strong>the</strong> two faces of <strong>the</strong> original black American music: blues and spirituals. His work with classics and<br />
with his own compositions (Bessie Smith’s Black Water <strong>Blues</strong> or Mama Rose) contributes to maintaining alive<br />
<strong>the</strong> power of strangeness of <strong>the</strong>se two musics in relationship to European music and expresses itself in a unique<br />
mix of wounded violence and age-old nostalgia.<br />
The scope of his work which registered in <strong>the</strong> eighties a certain urgency (at <strong>the</strong>cost of a few discrepancies) is a<br />
witness to <strong>the</strong> fact that in 1988 Archie Shepp was with Sonny Rollins one of <strong>the</strong> best interpreters in <strong>the</strong> babelian<br />
history of jazz.<br />
With his freedom loving sensitivity Archie Shepp has made an inestimable contribution to <strong>the</strong> ga<strong>the</strong>ring, <strong>the</strong><br />
publicizing and <strong>the</strong> inventing of jazz.<br />
6
The Artists<br />
Tom Mc Clung<br />
http://www.tommcclung.com/<br />
Amina Claudine Myers<br />
http://www.myspace.com/aminaclaudinemyers<br />
Pianist, Organist, Vocalist, Composer, Actress and Educator has proven herself adept i<br />
<strong>the</strong> creative musical arts. She is well known for her works involving voice choirs, voice<br />
and instrumental ensembles and performances in any combination of formations. Ms.<br />
Myers career in music began in her pre-teens assisting in chruch choirs as vocalist,<br />
piano/organist and later serving as choir director in her home state of Arkansas. She<br />
studied concert music at Philander College in Little Rock, completing her studies with<br />
Bachelor of Arts degree in music education.After moving to Chicago in <strong>the</strong> 1960´s Ms<br />
Myers taught in <strong>the</strong> public school system <strong>the</strong>re for six years, attended Roosevelt<br />
University and became a member of <strong>the</strong> AACM in 1966. In Chicago she first began<br />
composing music for voice and in 1975 organized her very first choir. Since 1976 Ms.<br />
Myers has resided in New York city where her career has become even more multifacet<br />
She has moved into <strong>the</strong> <strong>the</strong>ater realm, writing pieces for this medium, acting and<br />
composing music for a number of off boardway productions. Ms. Myers has recorded<br />
and/or performed with Archie Shepp, Charlie Haden´s Liberation Orchestra, James<br />
Blood Ulmer, Gene Ammons, Sonny Stitt, Muhal Richard Abrams, Lester Bowie and<br />
Bill Laswell. She has currently nine recordings released under her own name.<br />
Tom McClung is an American pianist and composer, performing all around <strong>the</strong><br />
world. Tom was born on a little island off <strong>the</strong> coast of a big continent, into a<br />
family for which <strong>the</strong> joy of making music was important every day.<br />
One can always expect <strong>the</strong> unexpected in a McClung performance. His everswinging<br />
piano style displays a wide spectrum of musical and emotional colors.<br />
Tom’s expressive touch, vivid imagination and playful humor present an exciting<br />
musical experience for all who listen.<br />
Tom’s piano can be heard on recordings of saxophonists Yusef Lateef, Marion<br />
Brown, and Archie Shepp, with whom he has been appearing on international<br />
stages since 1996.<br />
Tom McClung has released six albums as a leader or co-leader, showcasing his<br />
original compositions and arrangements.<br />
After hearing his version of Bach’s Goldberg aria, director Patric Jean enlisted<br />
Tom to compose and perform music for his film “D’un Mur l’Autre” (Black<br />
Moon, 2008).Tom’s critically acclaimed new album ‘This Is You’ (blang music),<br />
in duo with saxophonist Jean-Jacques Elangué, represents <strong>the</strong> fruits of a ten-year<br />
collaboration.<br />
Tom is also an enthusiastic music educator, giving private lessons and workshops<br />
in improvisation and harmony. His gentle demeanor and encouragement<br />
bestow confidence and inspires creative exploration.<br />
7
Ambrose Akinmusire<br />
http://www.ambroseakinmusire.com<br />
Born and raised in Oakland, California, Akinmusire was as a member of<br />
<strong>the</strong> Berkeley High School Jazz Ensemble, where he caught <strong>the</strong> attention of<br />
saxophonist Steve Coleman who was visiting <strong>the</strong> school to give a workshop.<br />
Coleman and hired him as a member of his Five Elements band for a<br />
European tour.<br />
Akinmusire studied at <strong>the</strong> Manhattan School of Music before returning to <strong>the</strong><br />
West Coast to take a master’s degree at <strong>the</strong> University of Sou<strong>the</strong>rn California<br />
and attend <strong>the</strong> Thelonious Monk Institute of Jazz in Los Angeles. In 2007,<br />
Akinmusire won <strong>the</strong> Thelonious Monk International Jazz Competition and<br />
Carmine Caruso International Jazz Trumpet Solo Competition and released<br />
his debut recording Prelude…To Cora on <strong>the</strong> Fresh Sound New Talent label.<br />
He moved back to New York City and began performing with Vijay Iyer, Aaron Parks, Esperanza Spalding, and Jason<br />
Moran, taking part in Moran’s innovative multimedia concert event In My Mind: Monk At Town Hall, 1957. It was<br />
also during this time that he caught <strong>the</strong> attention of Bruce Lundvall, President of Blue Note Records.<br />
Akinmusire made his debut on <strong>the</strong> Blue Note label in 2011 with <strong>the</strong> album When The Heart Emerges Glistening,<br />
featuring his quintet oftenor saxophonist Walter Smith III, pianist Gerald Clayton, bassist Harish Raghavan and<br />
drummer Justin Brown.<br />
Famoudou Don Moye<br />
www.myspace.com / famoudoudonmoye<br />
Although he’s played with many o<strong>the</strong>r prominent free jazz musicians, Don<br />
Moye is far and away best known for his work with <strong>the</strong> most highly acclaimed<br />
avant-garde combo of <strong>the</strong> ‘70s and ‘80s, <strong>the</strong> Art Ensemble of Chicago.<br />
Moye immediately added a more explicit rhythmic sensibility upon joining<br />
<strong>the</strong> previously drummer-less group. The band’s ability to groove was greatly<br />
enhanced by his presence. Moye was capable of swinging in a conventional jazz<br />
manner, but it was his mastery of various African and Caribbean percussion<br />
instruments and rhythmic techniques that set him apart from o<strong>the</strong>r jazz<br />
drummers of his generation.<br />
Moye studied percussion at Wayne State University in Detroit, where he<br />
worked with trumpeter Charles Moore’s Detroit Free Jazz.<br />
Moore’s band traveled to Europe in May of 1968. Once <strong>the</strong>re, Moye traveled <strong>the</strong> continent and Nor<strong>the</strong>rn Africa,<br />
working with such players as Steve Lacy, Sonny Sharrock, and Pharoah Sanders. In 1969, <strong>the</strong> Art Ensemble<br />
arrived in Paris. The band had been performing without a drummer in <strong>the</strong> two years since <strong>the</strong>ir inception. In<br />
Paris <strong>the</strong>y decided to hire a full-time drummer and found Moye at <strong>the</strong> American Center for Students and Artists.<br />
Moye’s extremely active, pattern-based polyrhythmic style lent <strong>the</strong> group a drive and cohesion that <strong>the</strong>y had (to<br />
some degree) lacked. Along with Jarman and Favors, Moye took to wearing African face paint and clothing in<br />
performance with <strong>the</strong> Art Ensemble.<br />
Calypso’s Smile<br />
Moye has long been active in contexts apart from <strong>the</strong> Art Ensemble. Before moving to Chicago in 1971, Moye<br />
played with musicians associated with <strong>the</strong> Black Artists Group in St. Louis. In <strong>the</strong> ‘70s, he played with pianist<br />
Randy Weston and formed a percussion duo with fellow AACM member Steve McCall. Moye played and<br />
recorded in a variety of jazz settings, from modal to bop to free. In 1984, he became a member of <strong>the</strong> Leaders,<br />
a collection of avant-jazz all-stars Lester Bowie, Chico Freeman, Arthur Bly<strong>the</strong>, Don Cherry, and Kirk Lightsey.<br />
Moye recorded as a leader himself, notably on <strong>the</strong> Art Ensemble’s own AECO label: in 1975, as a solo percussionist<br />
(Sun Percussion, Vol. 1); in 1993, as co-leader of <strong>the</strong> Joseph Jarman/Famoudou Don Moye Magic Triangle <strong>Band</strong><br />
(Calypso’s Smile); and in 1996, as co-leader, with Enoch Williamson of <strong>the</strong> Sun Percussion Summit (Afrikan<br />
Song).<br />
8
Jimmy Owens<br />
http://jimmyowensjazz.com<br />
Legendary Jazz artist JIMMY OWENS (trumpet, flugelhorn) has<br />
over forty-five years of experience as a Jazz trumpeter, composer,<br />
arranger, lecturer, and music education consultant. His experience<br />
covers a wide range of international musical achievement,<br />
which includes extensive work as a studio musician, soloist, bandleader,<br />
and composer of orchestral compositions, movie scores,<br />
and ballets. Jimmy is one of <strong>the</strong> few trumpeters of his generation<br />
who played as a sideman with such extraordinary Jazz leaders as,<br />
Lionel Hampton, Hank Crawford, Charles Mingus, Max Roach, Duke Ellington, Billy Taylor, and <strong>the</strong> Thad<br />
Jones/Mel Lewis <strong>Band</strong>, among o<strong>the</strong>rs. As a result, his musical and personal recollections are unique. He can<br />
share personal recollections of being a sideman in some of <strong>the</strong> most exciting bands in <strong>the</strong> history of Jazz music.<br />
His anecdotes are priceless: playing with Cootie Williams, Sweets Edison, Roy Eldridge and Dizzy Gillespie in<br />
an historic concert at Yale where Eubie Blake and Paul Robeson were in <strong>the</strong> audience; sitting in with Miles Davis<br />
at <strong>the</strong> age of fifteen, and many o<strong>the</strong>rs.<br />
Throughout his long career, Jimmy has consistently emphasized in both his performances and recordings a deep<br />
understanding of <strong>the</strong> blues as well as beautiful and articulate emotional <strong>project</strong>ion on ballads. As a reviewer stated<br />
in All About Jazz regarding Jimmy’s performance on One More: The Summary – Music of Thad Jones, Vol<br />
2 (2006), an all-star recording on which Jimmy appeared – “Jimmy Owens … proves that he’s better than ever,<br />
whe<strong>the</strong>r employing a breathy, vocal quality (Little Pixie), a smooth flugelhorn sound (Three in One), or brilliant<br />
and elliptical Jones-like melodic ideas (Rejoice).”<br />
Raphaël Imbert<br />
http://www.ninespirit.org/<br />
Born on June 2 1974, Raphaël Imbert grew up in an artistic background. At <strong>the</strong> age of 15, he<br />
discovered <strong>the</strong> saxophone. It was love at first sight. Self-taught, he registered for <strong>the</strong> CNR jazz<br />
class in Marseilles, taught by Pilippe Renault, and met <strong>the</strong> regional musicians he plays with <strong>the</strong><br />
most regularly (Emile Atsas, Jean-Luc Difraja, Vincent Lafont, Pierre Fenichel…).<br />
With Jean-Jacques Elangué, he wins <strong>the</strong> first prize at <strong>the</strong> Conservatoire (music school), and<br />
starts two bands, <strong>the</strong> Hemle Orchestra and <strong>the</strong> Atsas Imbert Consort, with which he will play<br />
in many festivals ( Vienne, Nice, Fiesta des Suds in Marseilles, Théâtre des Salins…). Having<br />
rubbed shoulders with <strong>the</strong>se musicians, he enjoys composing in eclectic musical situations.<br />
More personally, he develops his own vision of music and jazz, linked to <strong>the</strong> specific spitituality<br />
Ellington, John Coltrane, Pharoah Sanders, Albert Ayler and o<strong>the</strong>rs, and to realize shows inspired by evocative<br />
texts, using narration as a musical element per se (<strong>the</strong>y will play to Théodore Monod, Amidou Hampatê Bâ, Martin<br />
Lu<strong>the</strong>r King…). On <strong>the</strong> o<strong>the</strong>r hand, he develops a <strong>project</strong> of study of <strong>the</strong> sacred in jazz, and becomes laureate of <strong>the</strong><br />
Villa Médicis Hors les Murs. In 2002, he created <strong>the</strong> collective L’Enclencheur (in motion), with o<strong>the</strong>r musicians,<br />
sociologists, journalists, music lovers, to defend a <strong>project</strong> of reflexion integrating jazz playing into a wider vision of<br />
society. He taught at <strong>the</strong> Conservatoire in Marseilles, and now teaches at Ecole Départemental de Musique des Alpes<br />
de Haute Provence.<br />
He has been a member of <strong>the</strong> board of <strong>the</strong>” Orchestre National de jazz” since september 2004 and, in June 2005, he<br />
won <strong>the</strong> 28th National Jazz Contest of La Défense in Paris.<br />
Raphaël Imbert composes also for movies and television, for Philippe Carrese’s and Isabelle Boni-Claverie’s <strong>project</strong>s.<br />
In 2005, Nine Spirit became <strong>the</strong> Nine Spirit Company, administrative and artistic structure to develop his ideas and<br />
those of associated artists, such as singer / songwriter Marion Rampal.<br />
Since 2004, Imbert joined as a student Ecole des Hautes Etudes en Sciences Sociales (EHESS), under <strong>the</strong> direction of<br />
Jean Jamin, and as such has been commissioned for a research in <strong>the</strong> sou<strong>the</strong>rn of USA, for <strong>the</strong> IMPROTECH <strong>project</strong>,<br />
funded by <strong>the</strong> ANR, in partnership with CNRS, IRCAM and <strong>the</strong> LAHIC.<br />
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Francois Théberge<br />
www.cnsmdp.fr/enseign/biograp/théber_f.htm<br />
Saxophonist, composer and arranger born in Montreal Canada, on May 18th<br />
1963. Involved as a freelance musician in Montreal between 1980 and 1985<br />
both as a writer and performer, he also studied saxophone and arranging. In<br />
1985 he was awarded <strong>the</strong> Canada Arts Council grant to study at <strong>the</strong> Eastman<br />
School of Music in Rochester N.Y. His next five years were spent in <strong>the</strong> USA<br />
studying and performing ; In Rochester he earned a masters degree in jazz and<br />
contemporary medias, studying with Rayburn Wright and Bill Dobbins.<br />
He studied and performed in Miami Florida (University of Miami with Ron<br />
Miller and Gary Campbel). He toured as saxophonist and arranger with <strong>the</strong><br />
Glenn Miller big band around <strong>the</strong> United States, Japan and Brazil for 14<br />
months. In 1990, he was invited in France by <strong>the</strong> Orchestre Régional Rhône-<br />
Alpes (Grenoble) as guest conductor/lead saxophonist to coordinate <strong>the</strong>ir<br />
repertoire. In 1991, he moved to Paris and involved himself in <strong>the</strong> jazz community.<br />
The artistic emulation in Paris lead him to meet many musicians from<br />
around <strong>the</strong> world. Besides co-leading his own big band in Paris, he became<br />
involved in various tours and recording <strong>project</strong>s around Europe. As a result<br />
of his important arranging activities in Europe, he was appointed professor<br />
of jazz arranging/composing at <strong>the</strong> National Conservatory of Music in Paris<br />
in 1995. His first recording as a leader (Asteur) featuring Horace Parlan on<br />
piano, was nominated in<br />
France for « best jazz album » in 1997 , and he was also nominated « best<br />
new talent » in 1998. In 1999, he was appointed conductor/composer of<br />
<strong>the</strong> European Jazz Youth Orchestra. He is founder of <strong>the</strong> new record label<br />
ROUND RECORDS (award winning « The Medium <strong>Band</strong> »). In <strong>the</strong> fall<br />
of 2000, he succeeded François Jeanneau as Head of <strong>the</strong> Jazz and Improvised<br />
Music department at <strong>the</strong> Paris National Conservatoire (2000-2004). In<br />
2002, his record « françois théberge five featuring Lee --- <strong>the</strong> music of Konitz<br />
» as been awarded <strong>the</strong> « Choc de l’année 2002 » in France. In 2004, his next<br />
record « Elenar » received a 4 stars review in Down Beat, was nominated in<br />
<strong>the</strong> Canadian jazz awards, <strong>the</strong> Juno awards and <strong>the</strong> ADISQ (Québec) as best<br />
jazz album of <strong>the</strong> year, as well as getting a « CHOC » from <strong>the</strong> famous french<br />
jazz magazine JAZZMAN. He is a member of <strong>the</strong> Hans Koller quartet (London<br />
based), <strong>the</strong> Piotr Wosajik Colors Group (Poland), <strong>the</strong> Sylvain Beuf Sextet<br />
(France) and <strong>the</strong> Michel Donato Quintet (Canada)<br />
as well as leading is own <strong>project</strong>s in France : his 2008 record « Soliloque » with<br />
Lee Konitz was awarded « Disque d’émoi » and a « Choc de l’année 2008» in<br />
France as well as receiving « early contender for cd of <strong>the</strong> year » in Canada.<br />
His current teaching activities include a full professorship at <strong>the</strong> CNSMD<br />
Paris, as well as invited professor at many Universities, colleges and Conservatoires<br />
around <strong>the</strong> world (Birmingham, Cologne, Toronto, Weimar, Akademy<br />
of Katowice in Poland ---). He collaborates with Archie Shepp’s <strong>Attica</strong> <strong>Blues</strong><br />
<strong>Big</strong> <strong>Band</strong> as saxophonist and arranger since <strong>the</strong> summer of 2012. Two new<br />
recordings are due out early 2013 ; a collaboration with Portland (USA) based<br />
drummer Alan Jones on original songs, and a duo CD with bassist Sylvain<br />
Romano. Starting 2013, he is artistic director of Jazz à Vannes.<br />
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Cécile McLorin Salvant<br />
http://www.cecilemclorinsalvant.com<br />
Cécile McLorin Salvant was born and raised in Miami, Florida of a French<br />
mo<strong>the</strong>r and a Haitian fa<strong>the</strong>r. She started classical piano studies at 5, and<br />
began singing in <strong>the</strong> Miami Choral Society at 8. Early on, she developed<br />
an interest in classical voice, began studying with private instructors,<br />
and later with Edward Walker, vocal teacher at <strong>the</strong> University of Miami.<br />
Cécile McLorin Salvant was born and raised in Miami, Florida of a French<br />
mo<strong>the</strong>r and a Haitian fa<strong>the</strong>r. She started classical piano studies at 5, and<br />
began singing in <strong>the</strong> Miami Choral Society at 8. Early on, she developed<br />
an interest in classical voice, began studying with private instructors,<br />
and later with Edward Walker, vocal teacher at <strong>the</strong> University of Miami.<br />
In 2007, Cécile moved to Aix-en-Provence, France, to study law as well as classical and baroque voice at <strong>the</strong> Darius<br />
Milhaud Conservatory. It was in Aix-en-Provence, with reedist and teacher Jean-François Bonnel, that she started<br />
learning about improvisation, instrumental and vocal repertoire ranging from <strong>the</strong> 1910s on, and sang with her<br />
first band. In 2009, after a series of concerts in Paris, she recorded her first album, «Cécile», with Jean-François<br />
Bonnel’s Paris Quintet. A year later, she won <strong>the</strong> in Washington D.C. Cécile performs unique interpretations of<br />
unknown and scarcely recorded jazz and blues compositions. She focuses on a <strong>the</strong>atrical portrayal of <strong>the</strong> jazz standard<br />
and is just beginning to compose her own instrumental compositions and songs. She is also sings in French,<br />
her native language as well as in Spanish. She enjoys growing popularity in Europe and in <strong>the</strong> United States, performing<br />
in clubs, concert halls, spiegeltents, and festivals accompanied by renowned musicians like Jean-Francois<br />
Bonnel, Rodney Whitaker, Aaron Diehl, Dan Nimmer, Jonathan Batiste, Jacky Terrasson (with an a noted collaboration<br />
in his «Gouache» Universal CD), Archie Shepp... She sings for <strong>the</strong> 2nd consecutive year for <strong>the</strong> Chanel’s<br />
« Chance » ad campaign. In August 2012, Cécile recorded at <strong>the</strong> Avatar Studios a CD to be released early<br />
next year for <strong>the</strong> Mack Avenue Label with Aaron Diehl, Rodney Whitaker, Herlin Riley and James Chirillo.<br />
Sebastien Llado<br />
www.sebastienllado.com<br />
Trombonist, conchist and composer born in Perpignan, he studyied from Guy<br />
Figlionlos, JJ Johnson and Phil Wilson at Berklee College of Music (Boston, USA)<br />
and in Conservatoire National Supérieur de Musique de Paris (CNSMDP). He<br />
won 3 bandleading contests in National Jazz Contest of la Défense (1999: Spice<br />
‘Bones, 2001: Sébastien Llado Quartet, 2003: Zerafa / Georgelet Quartet), was<br />
soloist in National Jazz Orchestra(ONJ), conducted by Claude Barthélémy from<br />
2002 to 2005, with whom he toured Europe and abroad.<br />
He played, a.o. with French top jazz artists like Archie Shepp, David Patrois, Manu<br />
Codjia, Médéric Collignon, Jef Sicard, Emmanuel Bex, Sylvain Cathala,<br />
Sarah Murcia, «Magic» Malik Mezzadri and also with Albert Mangelsdorff’s German-French big band for 5 years.<br />
Very open-minded musician, he could also be heard with De La Soul, Muktiar Ali, Sophia Charaï, ElectroDeluxe, Hocus<br />
Pocus, Chris Garneau, Sébastien Tellier or Lenny Kravitz. You can ei<strong>the</strong>r hear his trombone on <strong>the</strong> original soundtrack of<br />
<strong>the</strong> 2010 Swedish award-wining movie «Sound of Noise» by Ola Simonsson, Johannes Stjarne Nilsson, and also on Yael<br />
Naïm’s 2007 award-wining pop single «New Soul».<br />
Despite his activities as a musician, he also is a gifted composer (movies soundtracks like «Muslims in France» (Phares et<br />
Balises, 2008) and <strong>the</strong> hymn of «En Marche» (JL Mélenchon’s French left party’s webserie) and teaches trombone and<br />
ensemble classes in Montreuil Conservatory.<br />
11
Darryl Hall<br />
Bassist; b. Philadelphia, PA, 10 November 1963. His mo<strong>the</strong>r was from Greenville,<br />
SC, and his fa<strong>the</strong>r was from Richmond, VA. His fa<strong>the</strong>r had rich appreciation for<br />
African American music, from Ray Charles to Coltrane and Muddy Waters, as well<br />
as non-African artists such as Barbara Streisand and John Denver which influenced<br />
Darryl’s wide taste.<br />
He attended Wagner Jr. High School (1975-78) and started playing electric bass, selftaught,<br />
inspired by funk bass craze and bassists Larry Graham, Stanley Clarke, Lewis<br />
Johnson (Bro<strong>the</strong>rs Johnson) and o<strong>the</strong>r funk music at <strong>the</strong> time, performed with school<br />
band. He played Fender jazz bass with local bands, usually with older musicians.<br />
Attended Temple University, 1981-86 (BA in Marketing), remained self-taught.<br />
Took music appreciation course and learned rudiments of notation and <strong>the</strong>ory.<br />
In 1989, while working in marketing for James River Paper Corp., Darryl purchased a plywood upright bass from<br />
<strong>the</strong> husband of Philadelphian vocalist Suzanne Cloud. From <strong>the</strong>re, he started taking private lessons from renowned<br />
bassist Tyrone Brown (Max Roach, Grover Washington, and Odean Pope). Tyrone taught Darryl <strong>the</strong> essentials of<br />
<strong>the</strong> instrument, positions and reading. Following that, he received periodic coaching from Gerald Price on harmony,<br />
swing, and understanding music and emotion. Pianist Eddie Green (Billy Paul, Catalyst) became ano<strong>the</strong>r important<br />
figure in Darryl’s musical development thru understanding o<strong>the</strong>r kinds of harmonic approaches and rhythm. By 1991<br />
he worked throughout <strong>the</strong> Philadelphia region and performed with <strong>the</strong> likes of Bootsy Barnes(ts), Johnny Coles (tp),<br />
Dennis Diblasio (bs), pianists Sam Dockery and Don Wilson, vocalists Mrs. Justine Keyes and Rachelle Ferrell.<br />
In 1992, Darryl quit his job to do music full time. In 1994, first European tour was with pianist Abdullah Ibrahim.<br />
Around <strong>the</strong> end of 1994, he moved to Jersey City, NJ, becoming involved in <strong>the</strong> North Jersey music scene and slowly<br />
into NYC. Met Winard (dm) and Philip Harper (tp) around this time (Harper Bro<strong>the</strong>rs). Did European tour with<br />
Winard’s band, played a week at Bradley’s with Philip. He met Dr. Lewis Porter in 1995 and got involved in teaching<br />
part-time at Rutgers U. in Newark, NJ. At Rutgers, he was a bass instructor (1996-1997).<br />
In 1996, he became winner of <strong>the</strong> Thelonious Monk International Bass competition. He <strong>the</strong>n moved to Brooklyn.<br />
He started working with vocalist Carla Cook, did SS Norway jazz cruise with Jimmy Heath (sax). During 1997-98,<br />
he worked with alto Antonio Hart’s band (European and Japanese tours), along with various artists including vocalist<br />
Vanessa Rubin (v), Teodross Avery (ts), Donald Byrd (tp), and Sonny Fortune (as), Mark Gross (as), Don Braden (ts),<br />
Lionel Hampton and his <strong>Big</strong> <strong>Band</strong>, doing lots of international and domestic touring. Also, Carla Cook introduced<br />
Darryl to Regina Carter (violin). He recorded and worked in <strong>the</strong>ir bands for about two years, as well as with Ravi<br />
Coltrane (ts) on a regular basis. Met Tom Harrell (tp) around this time thru Greg Tardy (ts), and started doing work<br />
with his band, including a European tour (2000). He lived in Zurich, Switzerland for almost a year, performed locally<br />
and joined up with American bands touring Europe, including a European tour with Woody Herman’s <strong>Big</strong> <strong>Band</strong>.<br />
He returned to <strong>the</strong> states in 2000. Also, he was married to Ca<strong>the</strong>rine Henry from France, who used to be a writer for<br />
French publication Jazz Hot magazine.<br />
In 2001, Darryl toured with Steve Wilson (alto). He attended Manhattan School of Music and completed one year of<br />
Masters degree program in Composition. In 2002, gigged as sideman with many talents, including Joe Wilder (tp),<br />
Mulgrew Miller (p), Bruce Barth (p), Benny Powell (tbn), and renowned pianist Hank Jones. O<strong>the</strong>r talents whom<br />
he’s collaborated with include Howard Johnson (tuba), James Williams (p), Frank Wess (ts). Has worked with Mark<br />
Murphy (v) and recorded <strong>project</strong>s for High Note Records including Norman Simmons (p), Grady Tate(dm), Bill<br />
Easley (ts), and Paul Bollenbeck (g) Still performs on electric bass and has been learning computer midi composing<br />
and recording to pursue electric <strong>project</strong>s.<br />
12
Christophe Leloil<br />
http://www.myspace.com/leloil<br />
Graduated from <strong>the</strong> Music Conservatory in Caen in 1997, Christophe has toured and played<br />
with (to name a few) Emmanuel Bex, Peter King, Alain Jean- Marie, Stefano Di Battista,<br />
Serge Lazarevitch or Eric Barret, Sophie Alour, Pierrick Pedron, Denis Leloup, Gilles Naturel,<br />
Karl Jannuska, Alex Saada…and in large ensembles conducted by Maria Schneider, Albert<br />
Mangelsdorff (« Franco-allemand de Jazz » from ’97 to ‘99) or Antoine Hervé (UMJ band<br />
en 2002).<br />
International tours with Electronic Septet de Fred Galliano in US (Knitting Factory NYC),<br />
Funk Brass <strong>Band</strong> ‘URANUS BRUYANT’(US, Europe, Africa).<br />
Works regularly with Carine Bonnefoy (quintet & big band « Pepper Pills »), NINE SPIRIT<br />
and SIXTINE GROUP led by Raphaël Imbert…<br />
Since 2007-2008, Christophe has led two sextet <strong>project</strong>s under his own name: a tribute to <strong>the</strong><br />
late master Booker LITTLE based on his 1961 records, and an original: <strong>the</strong> « E.C.H.O.E.S.<br />
» jazz suite was published in January 2009 on AJMIséries and well acclaimed by <strong>the</strong> critics.<br />
A new <strong>project</strong> « Line4 », new writings in a modern and urban mood, composed for a new<br />
quartet featuring <strong>the</strong> gifted André Charlier on drums will be recorded soon.<br />
Simon Sieger<br />
http://www.myspace.com/simonsieger<br />
Simon Sieger, born in 1986, has played jazz since his early childhood.<br />
He was taught <strong>the</strong> essentials of music and improvisation by his fa<strong>the</strong>r, Pascal Sieger<br />
before moving to Marseille in 2004. At <strong>the</strong> same time as he attends <strong>the</strong> jazz class in <strong>the</strong><br />
Conservatoire of Marseille with Phillipe Renault (he graduates in 2011), he works with<br />
Jean-Marc Montera, André Jaume, and Ahmad Compaoré among o<strong>the</strong>rs. In 2009, he<br />
joins <strong>the</strong> Compagnie Nine Spirit with Raphael Imbert, and has since participated in most<br />
of his <strong>project</strong>s (Improtech with <strong>the</strong> Ircam and O’max at Lomax, among o<strong>the</strong>rs). In 2012,<br />
he obtains a Master’s degree in <strong>the</strong> University of Aix-Marseille, doing research on Sun Ra<br />
and his Arkestra, and publishes articles in musicological reviews. He is now<br />
working with Thomas Weirich in various <strong>project</strong>s, as well as with Famoudou Don Moye,<br />
and Archie Shepp in <strong>the</strong> <strong>Attica</strong> <strong>Blues</strong> <strong>Band</strong>. He is also starting a doctorate on <strong>the</strong> history<br />
of improvisation, directed by Christine Esclapez (Aix-Marseille Université), and Ivanka<br />
Stoianova (Paris VIII).<br />
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Marion Rampal<br />
www.myspace.com/marionrampal<br />
Marion Rampal was born in 1980 and grew up in Marseille.<br />
During her childhood she studied classical music (piano and flute) and<br />
participated to many artistic and pluri-disciplinar <strong>project</strong>s until her twenties,<br />
singing in choirs,<br />
song-writting for pop bands, and acting.<br />
She studied Jazz at <strong>the</strong> famous IMFP School in Salon de Provence and at <strong>the</strong><br />
Marseille ‘s Conservatory, where she was taught improvisation, harmony, voice...<br />
by renown french and international Jazz musicians such as Michel Zenino, David<br />
Linx, Michel Barrot...<br />
Since 2005 she is an active member of French sax player and composer Raphaël<br />
Imbert : « la Compagnie Nine Spirit ». She works with <strong>the</strong> Compagnie but she<br />
also develops her own <strong>project</strong>s and productions.<br />
She has released a first album in 2009 «Own Virago», a song-writting <strong>project</strong><br />
about Women Mythologies, a blend of pop music with an approach on jaz,<br />
improvise music and blues patterns in what she would now defends as her own<br />
musical style:FREE POP !<br />
She is also singing and song-writing in <strong>the</strong> pop folk duet WE USED TO HAVE<br />
A BAND.<br />
She is currently working on a new <strong>project</strong> «MAIN BLUE», which will be<br />
achieved in 2012. It is a vast multi-purpose creation including : research,<br />
collaborations with traditional american and mediterranean musicians, voice<br />
workshop, composition, stage exploration and recording. This <strong>project</strong> is based<br />
on <strong>the</strong> concept of «<strong>Blues</strong>», which aim to explore <strong>the</strong> «gesture»in <strong>Blues</strong> through<br />
voice, poetic, musical, and choreographic expressions.<br />
Marion Rampal is also an active member of Pan<strong>the</strong>atre, a compagny related to <strong>the</strong><br />
famous Roy Hart Theatre, led by Enrique Pardo and Linda Wise, collaborating<br />
with Izidor Leizinger, Nick Hobbs, Amy Rome...with whom she explores all<br />
various possibilities of human voice and free improvisation, along with cultural<br />
studies in archetypal psychologie and performance.<br />
Since 2003, she has performed in many Jazz festivals and venues all around<br />
France, opening for bands Like Dave Liebman, Daniel Humair, David Linx,<br />
Steve Swallow...or guest with Manu Katché in 2010:Jazz in Porquerolles, Cité de<br />
la Musique de Paris, Festival des 5 Continents, etc...<br />
She will record with frech pianist Perrine Mansuy for her <strong>the</strong> album «Vertigo<br />
Songs», edited by Laborie in 2011.<br />
She is an active voice and impro teacher, defending an original, provocative,<br />
breath and body-based approach, and teaching to many different publics, such<br />
as children, old people, as well as professional singers and performers.<br />
14