Jef Gilson - Le Massacre Du Printemps
First ever vinyl reissueof highly sought afterFrench experimental jazzfrom the legendary Jef GilsonRemastered from the master tapes.Restored artwork + Obi StripLicensed from Futura / Marge. In 1971, the day after the death of Igor Stravinsky, Jef Gilsonand his Unit (Pierre Moretand Jean-Claude Pourtier) made this curious homage to classical music. It isjazz, contemporary and electroacoustic music that the trio interrogate through a wild ‘noise’ session evoking as much John Cageas Pierre Henry, John Coltraneas the Percussions de Strasbourg, the Art Ensemble of Chicagoas the Tacetby Jean Guérin.Le Massacre du Printemps, (the Massacre of Spring) is a strange kind of homage to Igor Stravinsky, who had just died when, in 1971, Jef Gilson recorded this not-to-be-missed album of French experimental jazz. “Too many pieces of music finish too long afterthe end” the Russian composer was quoted as saying and here is Gilson offering us... six! A funny bird (of fire) was Jef Gilson. Clarinetist who came up playing in the basement clubs with Claude Luterand Boris Vian, he turned to piano and multiplied his experiences in jazz: bebop, choral, modal, free, fusion... As a free spirit, Gilsonwelcomed many ‘up and coming’ French musicians in his bands (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier...) as well as being associated with Woody Shaw, Nathan Davisor Byard Lancaster. Later he would go on to create, Europamerica, a transatlantic formation in which Butch Morris, Frank Lowe, and Joe McPheewould play... But for the time being it’s a massacre! With Pierre Moreton organ and Jean-Claude Pourtieron drums, Gilsonimprovises with style and gusto. On the eponymous title track of the album, he also plays tuba and invites Claude Jeanmaireto get involved on prepared piano. Spring, for the four musicians here, is windswept: billowing, rumbling,frantic, it sounds like Stravinskyplayed by the ‘Percussions de Strasbourg’ without a scoresheet! After which, behind his electric piano, Gilson with Moret and Pourtier offers us five more “unpremeditated spontaneous expressions”, as he wrote on the back of the album sleeve. Five wily and electric expressions which are like the soundtrack to a film which could also have been played by the Art Ensembleor Jean Guérin. So, when, in the same text, Gilson expresses the hope that we will get “from this album the same pleasure that wehad making it”, we can but reply: how could it be otherwise?