(Avant-Garde) Marteau Rouge & Evan Parker - Live - 2009, FLAC (tracks+.cue), lossless, EAC, log 100%

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 12. November 2009, 20:07
Unknown Artist / Unknown Title
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all about jazz
Paris Transatlantic Magazine
Marteau Rouge & Evan Parker
LIVE
In Situ
Even if you didn't know that the name of the group means "red hammer", you might be able to guess if you listen carefully, as, believe it or not, Evan Parker actually quotes "The Internationale" 51 minutes into this live set recorded at Sunset, which is just about the only real jazz club in the centre of the French capital still prepared to programme the kind of music that usually only gets an airing across the Boulevard Périphérique at Les Instants Chavirés in Montreuil. Maybe that's why he showed up with just his tenor sax (which has always sounded more "jazzy" than his soprano to my ears) to blow merrily along with Jean-François Pauvros (guitar), Jean-Marc Foussat (VCS3) and Makoto Sato (drums), who've been hammering away in the red for well over a decade now. (The first gig I went to see shortly after moving to my present address in June 1999 was a scorching MR set with Joe McPhee, which I'd dearly love to travel back in time to and hear again.) But – gee, what with my reservations about that disc with Wiese (see below), Evan's going to think I'm a real grouch this month – I'm somehow underwhelmed by this particular outing after a first few listens. Hard to put my finger on exactly why, and with hammers swinging around I'd better watch my fingers anyway: the recording – mixed and mastered by Foussat and Dominique Pauvros – is splendid (though I would have liked a bit more VCS3), and the playing from all concerned strong and focused, but I suspect it hinges on the relationship between the guitarist and the tenor saxophonist, especially since Foussat and Sato seem content to paint washes of colour rather than draw sharp lines of their own. Both Parker and Pauvros are strong personalities, and take turns in pulling each other into their own worlds – Pauvros's four-note melody line in "Trois, Tourne mon Coeur" nudges the saxophonist into some of the most unashamedly tuneful playing he's committed to disc in years, and he bounces back in "Quatre", drawing the guitarist (and everyone else) into the kind of wiry tussle he's been relishing with his longstanding trio outfits since the 70s – but there's something dry and flinty about Parker's sound that somehow doesn't always fit with Pauvros's whammy bar, reverb and bowed guitar (and I've never been really convinced by anyone's bowed guitar, to be honest). And when Foussat adds a few electronic effects of his own to Parker's saxophone, notably a harmonizer on "Six, Au temps des cérises", it sounds rather odd, even a little cheesy. But the gruyère rapé doesn't sit around long before the local chefs beat it up and cook up a fine soufflé. And with a good bottle of Sancerre I'm sure it's delicious – remind me to try that when I listen to this again. For, make no mistake, listen to it again I certainly will.
Dan Warburton
Point of Departure
Recorded live at Sunset in Paris, this CD documents a meeting between Evan Parker – here on tenor only - and a (mostly) electronic French trio, including Jean-François Pauvros on guitar, Jean-Marc Foussat on vintage electronics and Makoto Sato on percussion. There's very little resemblance with the music of the English saxophonist’s Electro-Acoustic Ensemble. Here the saxophone is sometimes called to ride on the top of tumultuous sound waves created by the trio, their excitement often augmented by the usage of vocalizations, and to match them blow by blow. In other episodes, Marteau Rouge offers a pellucid and sparse texture for the serpentine saxophone to insinuate in, resulting in a controlled and dramatic development of the material. The electronic sounds tend towards mechanical sounds – or is my imagination affected by the name and imagery of the group? – that suggests futurist music or expressionist films. The effect is accentuated by sampled sounds that evoke a construction site. Inside the texture of the music, the four instrumentalists engage in intricate dialogues – with the saxophone picking up a melody line from the guitar, the percussion generating a flowing rhythm from the punctuations in the saxophone phrases, and the synths buzzing a baseline drone – and sometimes reach a state of telepathic. In the sixth piece, the saxophone is electronically treated in real time, but resulting in a sound that is quite distinct from Parker’s Electro-Acoustic ensemble. The raw guitar sounds and the pounding rhythms of the flowing track should appeal also to listeners coming from the avant-rock area, and presents Parker with yet another challenge, which he meets with radiant, lustrous sounds. The final piece begins with swirling saxophone lines over swishing brushes; after an intense and slowly building improvisation of 13 minutes, the opening is mirrored by the pastoral sounds of sampled songbirds.
All in all, this is a profoundly satisfying listening experience that shows the endlessly diverse directions that free improvisation can take.
Francesco Martinelli
VITAL WEEKLY ============ number 686
MARTEAU ROUGE & EVAN PARKER - IN SITU (CD by Orkhestra)
Music of an entirely free nature which includes the old master of improvised music Evan Parker on tenor saxophone and a group named Marteau Rouge (red hammer in case you are wondering), which is Jean-Francois Pauvros on guitars and voice, Jean-Marc Foussat on VCS3 synthesizer and voice and Makoto Sato on drums. Together they plays at Sunset in Paris on the 10th of January 2008 and the result has been edited into eight pieces which last seventy-five minutes no less. Normally I am not too keen on things free-jazz, and I thought I'd be passing this on to Dolf Mulder, but once I stuck it on I kept listening. Parker uses his circular breathing technique to create long sustained saxophone sounds, while Marteau Rouge plays nicely aggressive and amplified, almost like a furious free rock band, but without any strong rhythm or beat. And then, all of a sudden, they pull back, take control and charge, and play soft and introvert. I must admit that I thought it was all a bit long for so much musical information, and for me half the trip would have been equally satisfying, but maybe the lengthy form of such improvisations are part of the game? Not bad, even for someone who is not up to speed with the current trends in free-jazz.