Fred van Hove : church organ
Etienne Brunet : alto & soprano saxophone
Tracks 1 & 2 recorded by Patrick Muller at "Eglise St Germain-des-Près" (Paris) the 2 june 1997
Thanks to Odile Bailleux
Track 3 recorded by Jean-Marc Foussat at "Eglise St Pierre St Paul" (Montreuil) the 19 november 2000
Thanks to René Richard, Charles Millan & Thierry Schaeffer
Produced by Benjamin Barouh
First issue in CD : Saravah SHL 2103
Mastered by Chab at Translab
Design : Phong Luong Dien
Photo : Christian Rose
One evening in St Germain-des-Près.
It's been several years, and a few funerals, since i spent as much time sitting in a church. Entering by a side door, and quickly turning our backs to the altar, our gazes were unavoidably drawn upward by the large organ pipes, that on this day were helped by the pipes (portable in this case) of saxophones - soprano or alto - and, in alternation, bass clarinet. As Balzac said "The organ, is an entire orchestra, to which a clever hand is able to ask anything". This time it was not only a "duo", but a sort of concerto for the breath of Etienne Brunet and a group of winds directed by Fred van Hove, (actually a symphony of pipes with lips and reeds) full of soft and rich interchanges, in waves, with either apocalyptic effect or like a combination of Sun Ra and Olivier Messiaen (at the time when he would improvise - but not every Sunday - on the keyboard at the Trinity Church). Thus it's another language, religious and barbarian, of "groove" - like searching for imaginary rituals while exploring a jungle, frozen in time - because from the first sound and throughout the smallest silences this space cannot be defined like that of a recording studio. The monument itself participates - its machinery - around witch all is played : isn't it the only musical instrument inseparable from its home ? And also one of the last instruments from the European tradition for witch improvisation remains a perfectly legitimate practice ? But here and now, these days, inspiration and feeling, organ and sax or clarinet were interlacing on the edges of musical laws.