Barre Phillips
 |
|
Compositeur et contrebassiste, Barre Phillips a travaillé pour le cinéma, la danse et le théâtre. Il a composé la musique d´une douzaine de films (Robert Kramer, Jacques Rivette, William Friedkin, Marcel Camus...), une quinzaine de ballets (Carolyn Carlson, Dominique Petit, Yette Resal, Artefacte, Julyen Hamilton) ainsi que de la musique de scène (notamment pour Antoine Bouseiller). L´instrumentiste Barre Phillips est extrêmement présent sur les scènes de jazz, dans les concerts de musique improvisée ou de musique contemporaine. Il a enregistré 150 disques dont 40 sous son propre nom. Son album "Journal Violone" (Opus One - 1968) fut le premier disque de contrebasse solo en musique improvisée. Barre est sollicité partout dans le monde comme soliste et improvisateur accompli. Son expérience recouvre presque tous les styles de jazz, de Coleman Hawkins à Derek Bailey. Dans les années 70, son travail intense avec John Surman et Stu Martin (The Trio) a ouvert de nouvelles perspectives à de nombreux groupes actuels. Parmi les innombrables musiciens qui ont recherché sa collaboration, on peut citer Archie Shepp, Chick Corea, George Russell, Lee Konitz, Ralph Towner, Charlie Mariano, Michel Portal, Albert Mangelsdorf, Anthony Braxton, Jimmy Giuffre, Paul Bley, Evan Parker, Ornette Coleman, Terje Rypdal, Benny Golson, Coleman Hawkins, Sheila Jordan, Chris Connors, Derek Bailey, Barry Guy, Cecil Taylor, Malcolm Goldstein et bien d´autres. Pendant ses années new-yorkaises il s´est produit dans les big bands de Maynard Ferguson, Louis Belsen, Billy Mays, Les Brown, Chris Swanson et en soliste avec le New York Philharmonic sous la direction de Leonard Bernstein. Il a accompagné les chanteurs Gloria Lynn, Sheila Jordan, Jeanne Lee, Bobby McFerrin, Jay Clayton, Colette Magny. Barre Phillips se consacre également à l´enseignement. Depuis 1976, il dirige des ateliers de musique improvisée et de musique de danse. Originaire de San Francisco, Barre Phillips vit dans le Sud de la France depuis 1972. |
Barre PHILLIPS has been known for the past 30 years as one of the leading precursors of free improvised music. His solo record 'Journal Violone' [Opus One - 1968] is the first jazz record of solo improvised bass music ever released. Since that time he has continued to exercise this medium and has also collaborated as a composer in the fields of contemporary dance, film and graphic arts. Barre Phillips was born in San Francisco in 1934. He is a performing musician, improviser and composer. He began playing the double bass at age 13. He migrated to New York City in 1962. In New York Barre met and studied with Frederick Zimmermann. His years in New York during the 60's brought him into contact with the Free Jazz and Contemporary Music scenes which were flowering there at that time. In 1964 he appeared as soloist with the New York Philharmonic and made his first trip to Europe as part of the George Russell Sextet. In 1967, during a stay in London following a tour with the Jimmy Giuffre Trio, he was offered a role in a French film, a tour of Europe with the Marion Brown Trio and a solo theater music commission in Aix-en-Provence, France. He never made it back to the U.S.A.. Barre Phillips has lived in the south of France since 1972. As much a composer as a performer, Barre has worked in the areas of film, ballet and theater throughout the years. He has composed music for a dozen feature films (Robert Kramer, Jacques Rivette, William Friedkin, Marcel Camus...), a score of ballets (Carolyn Carlson, Dominique Petit, Yette Resal, Artefacte, Julyen Hamilton ...) and theater music for several contemporary plays. He also regularly receives commissions for new pieces for concert performances, music festivals and radio productions. Parallel to these experiences Barre Phillips has continued to perform and record. He has recorded some 150 records, 40 of them under his own name. Barre is in constant demand throughout Europe, North America and Japan as a soloist and improviser. His stage experience spans a wide range of musical styles, from Coleman Hawkins to Cecil Taylor to Interactive Electronic Music. His work in the 1970's with John Surman and Stu Martin, "THE TRIO", became a model in itself, and influenced many younger musicians. Among the countless artists Barre Phillips has played with, on stage and/or on record are: Coleman Hawkins, Eric Dolphy, Archie Shepp, Chick Corea, Benny Golson, George Russell, Lee Konitz, Charlie Mariano, Michel Portal, Albert Mangelsdorff, Martial Solal, Jimmy Giuffre, Paul Bley, Don Ellis, Joachim Kuhn, Evan Parker, Derek Bailey, Ornette Coleman, Joëlle Léandre, Cecil Taylor, Keiji Haino, Kazue Sawai, Malcolm Goldstein and many more. During his New York years he played in Big Bands- Maynard Ferguson, Louis Belsen, and as a soloist with the N.Y. Philharmonic under L. Bernstein. He has accompanied singers - Gloria Lynn, Sheila Jordan, Jeanne Lee, Bobby McFerrin, Jay Clayton, Colette Magny. Barre Phillips is also an active teacher and has led workshops regularly since1976 in Europe, America and Japan in double bass, Improvised Music and Music for Contemporary Dance. |
L’Art de l’ImprovisationComment trouver son discours et sa musicalité a travers son corps et sa voix ? Une des grandes richesses de la voix est qu’elle nous appartient entièrement ; elle fait partie de notre être. Chacun a une voix, un timbre qui lui est propre. Comment peut-on trouver et travailler son propre univers musical qui correspond a ses envies et à sa physionomie ? La détente, le souffle, l’axe, les résonateurs, les harmoniques…sont bien évidemment les choses fondamentales, mais si on y rajoute l’imaginaire, la parole sans mots, le son de l’air, la percussion buccale, le corps et sa résonance, les mains…. Qu’est ce que ça donne ? Sa propre musique. Durant cette intervention je vous parlerai de comment je produis les sons que j’utilise dans mon travail de recherche sonore et musicale. |
The Art of ImprovisationHow does one find one’s vocabulary and musicality through the body and the voice? One of the greatest riches of the voice is that it entirely belongs to us; it is part of who we are. Each person has his own voice, her own timbre. How can we find and work on our own musical style that corresponds to our desires and our physiology? Relaxation, breathing, axis, resonators, harmonics…are of course fundamental, but we can add imagination, speech without words, the sound of breath, mouth percussion, the body and its resonance, the hands…what does it make? One’s own music. During this presentation I will talk about how I produce the sounds that I use in my work of music and sound research. |
