"Jean-Marc Foussat is a real character who, in an interview, admits to having created a label to listen to his music rather than to sell it, like a jazz columnist officiates, for love of writing more than in the often vain hope of to be read. Jean-Marc was also a sound engineer for prestigious labels like Hat Hut Records, without remuneration except to receive the albums, as a columnist. It is therefore no coincidence that so many great musicians like to meet him, from the American Joe McPhee to Jean-Luc Cappozzo or Urs Leimgruber.
JM Foussat plays the AKS synth, an analog synth which appeared in the 1970s with a keyboard and sequencer which it accompanies by vocal effects. Among the latest productions of the dynamic label ... Classically trained trombonist, who studied at the Paris Conservatory, Christiane Bopp was interested in early and contemporary music as well as in free improvisation, notably during an internship with Yves Robert. She has led projects with Dominique Pifarély like Marc Ducret, recorded Barbares with Foussat, Makoto Sato (dm) and Jean-Luc Petit (sax) and she is part of the current ONJ directed by F. Maurin for the Rituals and Dracula. She had already recorded for Fou Records Noyau de lune, a solo album in which, off the beaten track, she mixes trombone (What burns, Gitane), "ends" of trombone, devious mutes and vocals in a very free spirit of research new sounds. Emmanuelle Parrenin, born in 1949, has mainly dedicated herself to traditional music, the hurdy-gurdy, the dulcimer or the harp. She was part of the Mélusine group, recorded with Dan Ar Braz, Alan Stivell's guitarist and recently recorded Pérélandra with Didier Malherbe and the bandoneon of JM Mosalini.
An album inspired by still life (beautiful cover with painting by Duane Keizer ), with four improvisations: Nature Morte, Nature Live, Still Morte and Still Live (puns around Still live, "encore en vie" and, Still Life, "calm life" which designates the still lifes in the Germanic world). Tracks that begin in the tremor, develop around the screeching and explode at times in a register very concrete contemporary music." - Claude Loxhay
