Bateau Lavoir is -
Giles Thomas, prepared guitar.
Patries Wichers, vox, mixer, samples, turntable.
Thomas Campaert, drumkit, sequencer.
Susie Jae, laptop. (no longer with group)
Markus Hansen, video.
Guesting, Archie Shepp
about this CD
This project is an ongoing experiment to create a new impulse in improvised music by combining the Afro American traditions of Archie Shepp with the european experimental traditions behind Bateau Lavoir. In naming these traditions it must be said that part of the common ground is a highly critical view of those histories by both parties. Shepp has been perceptively critical of the Jazz context and it's implications for Afro American music. Bateau is critical of the dogma coming from the academic jazz world and the free music context. The meeting was initiated by Bateau's film maker Markus Hansen who for some years has been developing film projects with musicians associated with the Chicago avante - garde. Hansen and Shepp both live in Paris and had met. Being aware of Shepps broad view of his artistic parameters Hansen saw the possibilities & made the introduction. There followed some exchange of material and email correspondence to define common ground and develop solidarity. This led to an agreement to keep the possibilities as open as possible and to respect each others freedom in the situation; the result is an exercise in what Umberto Eco calls open structured music. This recording represents the first two live performances which were presented after one brief rehearsal. Unfortunately the film content of the performance is not available as part of the record. However a dvd edition may be available in the future as the whole project is ongoing and more performances and recordings are planned as this first experience has generated a whole field of new ideas and possible developments. The material on this cd represents about three hours of live recording taken from concerts at the Monty theatre, Antwerp on 26-04-2002 and KC Belgie, Hasselt on 30-04-2002; As a double cd seemed excessive it has of neccessity been edited. The tracks however do follow the time line of the performances in their sequence and the different ambient qualities of the two venues are clearly heard.