{"id":62109,"date":"2025-03-13T16:29:14","date_gmt":"2025-03-13T15:29:14","guid":{"rendered":"http:\/\/veevcom.com\/?p=62109"},"modified":"2025-03-13T16:29:14","modified_gmt":"2025-03-13T15:29:14","slug":"buda-musique-presente-john-wright-promenade","status":"publish","type":"post","link":"https:\/\/veevcom.com\/en\/buda-musique-presente-john-wright-promenade\/","title":{"rendered":"Buda Musique presents “John Wright – Promenade”"},"content":{"rendered":"

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“John Wright (1939-2013): The man who made the jew’s harp sing<\/strong><\/p>\n

The jew’s harp<\/strong> is an idiophone whose vibrating element is a reed operated by pinching, using the musician’s mouth cavity as a resonator. <\/em><\/p>\n

This was the little musical instrument, often regarded as a toy or gadget, that became a favourite of, and admirably played by, an Englishman living in France: John Wright.<\/strong><\/p>\n

\u201cTradition is a permanent revolution.\u201d<\/p>\n

This phrase, which John Wright<\/strong> was fond of uttering in his splendid accent, sums up a musical career that overturned the world of popular music in France by encouraging a generation to discover and play traditional instruments and songs. In December 1969, together with Catherine Perrier<\/strong> and a few friends, he set up \u201cLe Bourdon\u201d<\/strong>, a now-legendary association which organised a folk club every Monday in different venues in Paris, enabling musicians to come and present their music, as well as giving \u201cfolkies\u201d the chance to take their first steps. It was there that he met, among others, the Vietnamese musician Tran Quang Hai<\/strong>, a master of the jew’s harp<\/strong>, spoons, and diphonic singing.<\/p>\n

For John, music meant singing, crwth, violin… But always with a special fondness and wonder for the jew’s harp<\/strong>.
\n\u201cIt works like this: you select an initial sound while listening to what’s going on in the background. When another, distant sound appeals to you, you go and find it and bring it to the foreground in place of the first, and so on, which, with the successive
\nsounds and their combination, gives the impression of \u2018walking\u2019 the sound of the jew’s harp through your mouth and down your throat. That’s how it’s been through the years I have played the jew’s harp<\/strong>, or rather lived with the couple it forms with the oral cavity.\u201d<\/p>\n

Throughout his life he and his partner, Catherine Perrier<\/strong>, travelled to many countries, meeting traditional musicians and demonstrating the technique, complexity and richness of the jew’s harp<\/strong>. In 1984, he took part in the first International Jew’s Harp Congress organised in the USA.<\/p>\n

For many musicians, meeting John Wright was a revelation, transforming their approach to the music of the people of the world and the playing of the jew’s harp<\/strong>.Today, we can rediscover the power and acoustic technicality of the jew’s harp<\/strong> thanks to John Wright<\/strong>‘s recordings, such as the CD Promenade<\/strong>: 11 pieces recorded in 1989 by Patrick Georges<\/strong>, with illuminating commentary by numerous specialists and friends of John (Buda Musique – 860399).<\/p>\n

His followers are numerous and grateful for the work and open-mindedness of this musician who, during long evenings, would quickly sweep you away on another of his many passions: steam locomotives! Breath, as they said, was his life.”.<\/p>\n

Philippe Krumm<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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