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██░ VA - Mobilisation Generale: Protest and Spirit ░
██ Jazz From France 1970-1976
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Title [Mobilisation Generale: Protest and Spirit J] ░██▓
Artist [VA ] ██▒
Label [Born Bad Records ] Genre [Jazz ] ██░
Quality/Size [44.1 @VBR 130,4 MB Ripped [01-16-2015 ] ▒██
Grabbed from [CDDA ] Enc [Lame 3.98 ] ▓██
Website [shop.bornbadrecords.net ] ▒██
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Track Time Title ██
⌐--÷¬ ⌐-- ⌐-- -÷- -≥ ≤¬ - ¬ ██
██
01 04:12 Alfred Panou & Art Ensemble Of Chicago - Je Suis ██
Un Sauvage ██
02 04:22 Brigitte Fontaine & Areski Belkacem - C'est Normal ██
03 09:59 Atarpop 73 & Le Collectif Le Temps Des Cerises - ██
Attention L'armee ██
04 05:03 RK Nagati - De L'orient A L'orion ██
05 01:29 Frederic Rufin & Rapael Lecomte - Les Elephants ██
06 13:35 Francois Tusques - Nous Allons Vous Conter ██
07 02:54 Mahjun - Nous Ouvrirons Les Casernes ██
08 09:11 Full Moon Ensemble - Samba Miaou ██
09 04:20 Baroque Jazz Trio - Orientasie ██
10 04:16 Michel Roques - Le Cri ██
11 11:40 Chene Noir - Hey ██
12 03:23 Beatrice Arnac - Athee Ou A Te ██
Totals ██
12 74:24 min ██
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Release Notes: ░██▓
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1968. France, Incorporated. The entire building was being ██░
consumed by flames and was slowly collapsing. Nothing would ██
survive. Out of the rubble of the old world jumped the ██
children of Marx and Coca-Cola, ripping the white and blue ██
stripes off the French flag. Yet, the socialist revolution ██
was more mythic than real and music did nothing to mitigate ██
people's behavior. It was time for innovation. ██
██
While singles from the Stones, Who, Kinks and MC5 provided ██
an incendiary soundtrack for the revolution, it was Black ██
Americans who truly blew the world from its foundations in ██
the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert ██
Ayler and Archie Shepp left behind the jazz of their ██
fathers' generation, liberating the notes, trashing the ██
structures, diving headfirst into furious improvisations, ██
inventing a new land without boundaries - neither spiritual ██
nor political. Free jazz endowed the saxophone with the ██
power to destroy the established order. ██
██
In 1969, the Art Ensemble of Chicago arrived at the Theatre ██
du Vieux Colombier in Paris and a new fuse was lit. Their ██
multi-instrumentalism made use of a varied multiplicity of ██
"little instruments" (including bicycle bells, wind chimes, ██
steel drums, vibraphone and djembe: they left no stone ██
unturned), which they employed according to their ██
inspirations. The group's stage appearance shocked as well. ██
They wore boubous (traditional African robes) and war paint ██
to venerate the power of their free, hypnotic music, ██
directly linked to their African roots. They were ██
predestined to meet up with the Saravah record label ██
(founded in 1965 by Pierre Barouh), already at the vanguard ██
of as-yet unnamed world music. Brigitte Fontaine's album ██
Comme a la radio, recorded in 1970 after a series of ██
concerts at the Theatre du Vieux Colombier, substantiated ██
the union of this heiress to the poetic and politically ██
committed chanson francaise (Magny, Ferre, Barbara) with the ██
Art Ensemble of Chicago's voodoo jazz and the Arab tradition ██
perpetuated by her companion Areski Belkacem. ██
██
A UFO had landed on the turntables of French teens, who were ██
discovering underground culture via publications like ██
Actuel, Liberation, Charlie Hebdo, Rock & Folk and a ██
vigorous free press. It was a generation ready for any and ██
all combats: alongside farmers on the Larzac plateau and the ██
Lip factory workers; fighting the Creys-Malville nuclear ██
plant, the Vietnam War, the death penalty, discrimination ██
against women, gays and immigrants. For 20 year olds in the ██
early 1970s, making music was a political act; they grabbed ██
a microphone to advance a cause, not to become rock stars. ██
While the price of oil skyrocketed and Pompidou went ██
overboard building horrible concrete apartment buildings for ██
public housing and "adapting the city for the automobile," ██
some took refuge in the countryside. Alternative communities ██
formed all across France, giving rise to groups (or rather, ██
collectives) with open-minded structures, cheerfully mixing ██
music, theatrical happenings and agitprop, along with a good ██
dose of acid. Projects bordering on the ridiculous were ██
often tolerated (progressive rock was one of the primary ██
banalities the era produced), while those who followed the ██
route paved by spiritual jazz often ended up elsewhere. The ██
vehemence (if not grandiloquence) of their declarations was ██
carried and transcended by the finesse and brilliance of ██
their musicianship. For the "straight" France of Claude ██
Francois, it was something from another world. ██
Simultaneously spatial, pastoral and tribal, the tracks in ██
this collection represent an ideal intersection between a ██
sort of psychedelic legacy, the space jazz of Sun Ra and ██
Afro Beat (then being created by Fela in Lagos): they are as ██
much incantations (often driven by the spoken word), war ██
cries or poems as they are polemics. ██
██
1978. Giscard was at the helm. Punk and disco were busily ██
decapitating the last remaining hippies. Peoples' blood was ██
still boiling, but it was already too late. The war was ██
over, lost without anyone noticing. Nevertheless, people ██
still tilted at windmills or talked tough in dead-end ██
struggles; a dream is not so far from a nightmare. We knew ██
that an enchanted era had ended, the hope for a brighter ██
future was now behind us and that we would leave behind ██
nothing for our children but a few records. Indeed, ghosts ██
may still crackle from our speakers, as the 45 spins and ██
Brigitte Fontaine asks Areski: "He mais je pense a un truc, ██
on ne va pas mourir dans une minute ?" (Hey, I was just ██
thinking, aren't we going to die in a minute?) ██
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Enjoy! ██
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