Voici quelques synonymes: faux, inexact, mauvais. DAVE Hum Certaines dates sont inexactes ainsi que certains faits. Dois-je employer ce mot dans une phrase? Quelle est la peinture la plus grande du monde? Attends voir. HUGO Le tidinit. Tu devrais trouver ton bonheur dans ce carton. Ha, ha, ha! Le lendemain, M. HUGO Hacivat. Le nom de la seconde marionnette est Hacivat. Je suis incapable de commettre des erreurs. Then, as you know, everything exploded and the utopia disappeared to leave only the sad reality of the brutal capitalism all over the world.
Ferdinand Richard: I would not say that we were registered in any political organisation. When we moved there, I was the oldest person of the group and was not even 25! Guigou was less than We were kids. The general political orientation of the group was anarchy. Then the second person writes something and hides his part of the text etc. Then, we composed the music, inspired by this crazy story. These visual and theatrical elements were at least as important as the music itself!
Here, no jokes, no text…and a quite complex rhythmical structure on drums and bass. Ferdinand would be certainly a better person than me to speak about it…. It is not to me to do this job. Listening to music is personal. Anyone should be able to listen without being influenced.
Francis Grand joined you and played saxophone on it. Francis was a friend of a friend living in Grenoble. We met him, tried to play with him, and it worked! Chris Chanet: I met Francis during a visit to my parents.
Hanging around in Grenoble. Later there was another RIO festival held in Milano Guigou Chenevier: First of all, the funny story is that we discovered Henry Cow I think it was in spring when we went to a concert of Captain Beefheart in Lyon. In the contrary, Henry Cow was opening the show, and we really loved them! Some months later, we met Henry Cow in a concert in Massy Paris.
What we did, and it has been great! We played with them in Leeds, Cambridge, London etc. Some time later, we toured also with Henry Cow in Italy.
Three memorable concerts in Roma, Napoli and Mestre closed to Venice. It was nothing to see with an esthetic common ground. Ferdinand Richard: Yes, and no… since the beginning of RIO they were tensions between members who did not share the same political positions.
Political discussions were tense. They were extremely important for us, but that was it. Each group was organizing its own business. I did it for EFL. I have nothing to do with RIO today. It is a manipulation of the history. But I guess this is very common in the history of arts. Guigou Chenevier: Yes!
It was a real choice for us to do it like that, but this choice was also influenced by the fact that at this period, it was normal to sell a lot of records at the end of the concerts, and also in record shops etc. A situation completely different than now! Maybe more??? How was it to play in USA? The RIO scene was not so strong there? Even though Cuneiform was already existing. Anyway, for us, it was really exotic to play in the US! I remember strongly our first concerts in Providence and Boston organized by Michael Bloom thanks to him!
In Boston we played with Hatfield and the North. We also played with some crazy american groups like The Stikmens a kind of ultra punk and over speed band from Philadelphia if I remember well. I remember that their concert was really astonishing, but who remember this group now??? I would be curious to know if some of these musicians are still making music. I was the owner of a little record shop named Margot Music and Margot was my nickname. That explains my name Margot on the first solo album of Ferdinand.
This band played on the first solo album of Guigou. At the first time Ferdinand refused because I play tenor and soprano sax. And EFL used to play with alto sax. Finally we start to rehearse together 3 or 4 weeks before the US tour. And it was OK. The tour was fantastic. Ferdinand Richard: In the summer of Fred Frith, with whom I had a closed friendship, decided to move to the US, and I went together with him, not to stay, but to see if organizing a tour for EFL was likely.
This first US trip of mine came at the same time, the New York Gong was touring the East Coast, so I followed them a bit, since I had good relationship with Giorgio Gomelsky, who was in charge of this group at the time.
His name was Bill Laswell, and we we were good friends then. The EFL tour came a few months later, in We recorded it on a 4-track machines, although one of the track was most of the time out of duty, so you can considered this has been recorded on 3 tracks, in very acrobatic conditions! At that time, it was really unusual, I think we were the first french group to tour there, at least the first to record a live album, which was unbelievable for the regular french music business.
Some of these Parisian guys declared that this was a fake US tour, that we had invented everything and had never been there. After US tour you became a quartet. Bernard Mathieu, what do you remember from joining the band?
It was produced by Fred Frith. Bernard Mathieu: I joined the band just before the US tour. We met a Swiss guy, owner of Turbo Records and also a very good recording studio.
It was a very good experience. Working with Fred as a producer was really great. What can you tell us about your involvement, Bruno? Bruno Meillier: My first memory of the band goes back to June at a pop music festival in St Just sur Loire, a small town along the Loire river, this is where I discovered them.
Nana Vasconcelos was part of the program and it was mostly folk acts which I was not so excited about back then. But when the trio got up on the stage, I liked them immediately. That combination of bass and drums, odd time signatures and no electric guitar was unusual. His reply made me walk on air! I was only 18 then. Luckily the opportunity never arose, it would have been a disaster musically. Later I happened to see the trio in other festivals, here and there, each time with a different saxophone player.
I was thrilled to join them. But guilty as I felt to leave my own band aside, I always saw this as a temporary replacement, limited to a one-album only collaboration. The reason why I remained less than two years in the band although we had fun and it was an intense creative time. The four of us composed the material for Les Sillons de la Terre , their most jazz-oriented album I listened to a lot of jazz back then.
One evening in , Ferdinand called and proposed we would start a duo together, Bruniferd, which now looks to me like an expansion of what I did in EFL. Except that duo worked on a more minimal concept no chords, no drums, no electricity, just bass, flute and saxophones skinny lines, and poems of our own, in between pieces , chamber music of a more ascetic kind. A lot more flexible economically, that duo would export itself better than a four or five members band with equipment, etc, and lasted longer.
He was also a member of Alfred Harth 's group Gestalt et Jive in the mids, and collaborated with Fred Frith in to record Dropera Richard also formed his own group, Ferdinand et les Philosophes in , and recorded two solo albums, En Forme!! He has lived in southern France and Marseille since In Richard abandoned his studies, adopted the pseudonym "Ferdinand", and played in several local rock groups, covering Cream , Led Zeppelin , Jimi Hendrix , etc Etron Fou Leloublan, French for roughly "Crazy Shit, the White Wolf"   or "Mad Shit, the White Wolf"   were a "nonconformist"   avant-rock group that produced a blend of punk rock , jazz , French music hall, comedy satire and "avant-garde mayhem".
Later on, in the early 80's, he bought himself a rare Fender Bass VI six-string electric bass guitar from a New York pawn shop, which became his sole instrument. In Richard also formed a duo, Bruniferd, with saxophonist Bruno Meillier from Etron Fou Leloublan that was dedicated to "precise and condensed musical poetry". In , Berliner drummer Peter Hollinger, East German saxophonist Dietmar Diessner and Richard decided to start a power-improvisation trio, "Falaq", which never recorded but delivered several dozen performances in Europe and North America.
The project was recorded for the Czech national radio and television at the time part of the Soviet bloc. From Wikipedia, the free encyclopedia. French musician and composer.
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