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Ensemble Fawaz Baker presents ” Alep – Brest “

Fawaz Baker  A lifelong musician, Fawaz Baker was a professional architect before devoting himself exclusively to music. From accompanying singers on the accordion as a child, to the keyboards and then double bass, he has explored various music spaces (hard rock, jazz, blues) and devoted years to studying musicology and the multiple influences of Aleppine music (Ottoman, Iranian, Armenian, Indian and Central Asian, including the Sufi tradition). The war ended up tearing this Oud player away from hometown and from everything he had built, though he has long sought to continue in solidarity with his people: he led the Aleppo Conservatory of Music for several years where, he said, "the greatest challenge was composing between the teaching of Western classical music and that of traditional Eastern music.". Beyond the joy and sadness, the music allows him to build new sentiments and create a new memory. As part of his commitment, Fawaz Baker spends much of his time in Syrian refugee camps in Lebanon passing on his passion for music to children, showing them how to re-learn silence, far from the noise of war. He is an associate artist at Quartz in Brest until 2020.  Ensemble Fawaz Baker The passing on of music from one musician to another and from one soul to another continues, echoing ancient melodies that used to be heard throughout the city, in churches and cafes; in the mosques and courtyards of stone-carved buildings. These tunes, in Arabic, Syric, Armenian, Turkish and Kurdish, have been passed down from one generation to the next, their beauty serving as the sole weapon against falling into oblivion. Their one common denominator is, for Fawar Baker, their constant innovation within the constraints of traditional structure. Easter music offers myriad possibilities in terms of rhythm, melody and improvisation. It is what is referred to as modal music: composed of musical phrases, not tones or notes like most compositions in the West since the eighteenth century. Eastern sound is based on improvisation and polyphony; a freedom that allows two melodies to evolve simultaneously within a complex architecture, letting each musician interpret and improvise. How, then, might a balance be struck between written and improvised music, between modal and tonal? The challenge is no small feat, but it does illustrate how music - and art in general - is capable of creating a dialogue between contradictory forces, one where ideology falls short.
15 July 2019

Luis de la Carrasca presents « Gharnata »

Gharnata - The Album : "Gharnata means Granada in arabic. Why this choice? By being a Granadian, I am aware of the legacy left by this extraordinary civilization at his peak. Al Andalus has given us an example of coexistence, an art of living and a huge and deep culture, « with capital C», either in painting, poetry, craftmanship, science and especially in music. Considering I am self-thaught, I like to think that this skill for painting, writing, composing and performing has been bequeathed to me, as it has been inlaid by my genes in a specific feeling, like a genetic memory which gives me a pulse to unearth something which has already been, has existed. The texts of my lyrics are a tribute to the values of great importance, essential to humanity historically: respect, coexistency, tolerance, generosity, willingness, faith, goodness and the most important love, love of fellow beings, of life, of earth, of nature... Love with capital L : values which are as essential as oxygen for life. Values which tend to disappear and for which we have to fight in order to preserve them. Together, they are the basis of Human Rights. However, I also felt the necessity to approach the importance of our roots. The reference which is guiding us towards the future remembering where we came from and who we are. The familly, fundamental pilar of a healthy and strong morale that provides us to live in harmony with ourselves. Environment and his modern issues are also a global fact which puts every life in danger. Finally, it’s also a tribute to the memory of great geniuses who are Federico García Lorca, Antonio Machado and the great Bizet. This constitues an inescapable and unforgettable heritage for humanity. " Luis De la Carrasca Luis de la Carrasca : This Andalusian from Granada, arrived in France in 1991, is currently the artist flamenco recognized and one of the references in the flamenco world. He is self-taught and has inherited his gift for "el Cante" from his ancestors. Plenty of directors, like Thomas Le Douarec, Jean-Luc Paliès, Prosper Dis, Serge Barbuscia appealed to his talent. Luis de la Carrasca composes music for the production and has integrated Flamenco in dramatic and classical plays (Le Cid la légende Flamenco, Signé Pombo, Théorie et Jeu du Duende, El Cordobés, Ola Federico, Carmen Flamenco....). Since 1991 at every Avignon Fringe Festival, creates a new show (Théâtre du Chêne Noir, Théâtre des Corps Saints, Théâtre du Balcon, Théâtre La Luna, Théâtre de l’Oulle...). In 2020 he will celebrate his 30rd festival. Thanks to his company, from the very beginning he had an approach to support young artists towards professionalization, and introduced them to the audience : Juan Cortes « Chulo », La Moneta, Melinda Sala, Manolo, Sabrina Romero, Manuel Gutierrez, Santiago, Enrique Santiago, Kuky Santiago, Ana Pérez...
8 July 2019

Matia Levréro & Tcha Limberger present « Mediterranean Quartet »

It is at a random station that guitarist and composer Matia Levrero meets one of his acquaintances, Tcha Limberger. Tcha is a luminous artist, from a large family of gypsy musicians, multi-instrumentalist, blind at birth, whose ever-growing fame goes far beyond the borders of Belgium. But it is above all someone very open, which multiplies appearances with artists from very distant worlds, from legends of Bulgarian music to contemporary jazz musicians of Aka Moon.  During the last two years, from Brussels to Transylvania, through the south of France, Matia and Tcha meet regularly to share moments of music and life. Together, they play their compositions, tinged with Balkan music and exchange on traditional Greek, Turkish and Romanian music, but also on jazz and improvisation. Soon, a musical color appears and both share the desire to build a group around a jazz that has its roots in the Mediterranean region. To this duo are added two rare musicians, the saxophonist, accordionist and sound engineer Guilhem Verger, true "soul brother" of Matia and Simon Leleux, Belgian percussionist, former student of the Turkish master Misirli Ahmet. The quartet meets several times in Brussels and Montpellier and performs its first concerts in 2017. Today the quartet is devoted to new compositions while constantly strengthening its work around Mediterranean rhythms and patterns. Matia Levréro (Montpellier) guitar : Guitarist, composer and arranger is an artist open to the world; without preconceived ideas, he is only guided by his emotions ... He refines his musical style through his stage meetings, mixing jazz, Mediterranean and African music, with renowned musicians like Julien Lourau, Tcha Limberger, Fabrizio Cassol ... You can discover him on stage with Free River (in the company of Central African singer Emma Lamadji), Les Anes of Palinkov (jazz fanfare of the Balkans), the Melquiades Quartet (with guest saxophonist Julien Lourau) or Le grand ensemble Koa. Tcha Limberger (San Sebastian / Brussels) Violin, Singing : The gypsy Tcha Limberger is one of those men who seems to have had many lives. He is a violinist, guitarist, singer, composer ... he is also fluent in seven languages! He shines in terribly demanding musical styles, such as Transylvanian music (Kalotatszeg Trio), Hungarian music (Budapest Gypsy Orchestra), Django music (Brussels violins), contemporary jazz (Aka Moon), and Greek music (Tatavla Trio). The list is long of the great masters whom he shared the stage with (Jordi Savall, Dimos Vougioukas, Misirli Ahmed, Stephane Galland, Bireli Lagrene, Magic Malik, Sivaraman ...).
24 June 2019

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