The Electrifying Eddie Harris is an album by American jazz saxophonist Eddie Harris recorded in 1967 and released on the Atlantic label.

2021/22, a cultural season unlike any other, brings the 30th anniversary of Cypres. Musical renewal and reinvention is the essence for any record label in today’s environment.

"There is 'less is more' production philosophy, charming tricks, for example tuba on Wake The World and, most of all, having fun in the best possible sense."

Long underrated in the pantheon of jazz greats, Eddie Harris was an eclectic and imaginative saxophonist whose career was marked by a hearty appetite for experimentation. For quite some time, he was far more popular with audiences than with critics, many of whom denigrated him for his more commercially successful ventures

Singer Lina Nyberg and pianist Daniel Karlsson have both had brilliant careers in Sweden and internationally through the years. April 30, 2021 the duo album The Night and the Music will be released, containing a string of famous songs inspired by nighttime.

Touch is an American band from New York City formed in 1978 with Mark Mangold (keyboards and vocals), Glenn Kithcart (drums), Craig Brooks (guitars and vocals) and Doug Howard (bass and vocals).

A sumptuous album of French and Belgian music for violin and piano, performed with unique intimacy and poetry by long-term partners Franco Mezzena and Elena Ballario.

Based on an initial idea by Gordon Pym (or was it Klaxon?), and taking advantage of the temporary presence of a second piano in the concert venue of la malterie, two trios from the Muzzix collective came together in late 2020 to create a quintet… The acoustic version of Toc (see Qeqertarsuatsiaat – Circum-Disc 2015) takes on the energy and electricity of the original trio, exploring soundscapes full of freedom. The trio Abdou/Dang/Orins (see Lescence / Gmatique – Circum-Disc 2020) plays the organic and the infinitely small.

A protean project created in 2010 after finding raw material in a dumpster of a small metal factory in the Vallée du bout du Monde in Thiers. David Bausseron’s metal instrumentarium already consisted of a few thin strips and slats of mechanical brush found in the street, halogen lamp bases with an astonishing resonance. Several forms have emerged over the years, from installation and interactive street performances to the most noisy electroacoustic concerts. Sound actions where the stunt body throws itself into reptative acoustic crossings or amplified tributes to broken faces. Acoustics, spaces, surfaces, performance, scenography, gesture, minimalism, gigantism, clutter, purity, electroacoustics, improvisation, composition, solo. This record, “Maelström” is a selection of recordings and the result of ten years of experimentation with metal objects. It brings together two aspects of the guitarist’s work on metal materials: acoustic and electroacoustic.

When Toc deals with hair, it’s not about splitting them ; the three musicians are closed enough in their quest of the ultimate sonic brushing. Toc seeks, cuts, equalizes, and often uncurls. Its research is slow and progressive, repetitive and insistent, with electrified energy, always built in the moment. Neither permanent nor straight, the music waves, makes loops, gradations and colors.

Continuing his solitary explorations, Peter Orins used an impeded year to initiate two distinct developments that enrich his approach to the drum solo. The piece VRTN is a variation, or an extension, of the piece Happened By Accident, the subject of the eponymous album released in 2019 (Circum-Disc – LX014). It takes up the use of the drums as a resonator of various objects, wood, metal, glass, and the preponderance of the unexpected, by introducing accidents and interactions. The musician adds electronic treatment, which we find in his first record (Empty Orchestras – 2013), produced by Pure Data software: a device, designed in collaboration with Antoine Rousseau, autonomous enough to influence him in an unpredictable way.

After experimenting with randomness and electronic transformation (see Empty Orchestras – 2014), Peter Orins returns this time with his only drum set, and some objects, bowls, wood, shells… As an improviser, he is interested in sound textures, the ambiguity of timbres and their production, the saturation of sounds or the harmonics specific to each instrument: make it possible to hear both the “microscopic” noises of skins or metals rubbed, struck, prepared, at very low power, and the acoustic pressures felt at high volume.

Peter Orins project could be called an accompanied solo. The drummer has designed an electronic device autonomous enough to influence him in his play in an almost unpredictable way. Therefore a kind of dialogue is established between the musician and the electronics where the usual roles are reversed: the drummer offers an insistent and repetitive form, transformations and random treatments performed live cause the disorder conducive to improvisation. Magnified timbres or on the contrary disturbed rhythmic progressions cause welcome accidents or extend the resonances of the instrument. In this game between natural timbres of cymbals and skins and amplified deformations of the electronics, Peter Orins seeks vibration and saturation to produce a music made of extreme and powerful rhythms and sound textures.

Quartet Base is a long-lasting formation. For 18 years now, Sebastien Beaumont has been writing a music that relies on the trust set in between the musicians. Based on the inmost, this new repertoire releases a deep, tensed, but sometimes funny and mischievous proposition. Texts, melodies, climates and sound memories are so many materials to a narrative and expressionist music.

The trio Brûlez les meubles (« Burn the furniture ») is the meeting of three musicians with very different paths around the desire to create a jazz guitar trio that is oblique in the history of the genre. Nourishing aesthetic filiations with many precursors, from Jim Hall to Sonny Sharrock via Abercrombie or Bill Frisell, the trio stands out by a marked indifference to the habitual harmonic progress of jazz as for the repetitive movements and prefers melodic lines with indefinite harmony (harmolodie?) and incisive riffs.