French sound sculptor Jean-Luc Guionnet (1966) is a jazz saxophonist who has
recorded with a number of free improvisers:
Erres (Shambala, 1999), with the group Schams (Eric Cordier on hurdy-gurdy, Eric Bruelebois on drums);
Improvisation vol 1 (La Belle Du Quai, 1999), credited to Calx, a duo of drummer Edward Perraud and Guionnet;
Return Of The New Thing (Leo, 2002), documenting a 2000 live performance by a quartet with Dan Warburton (piano), Francois Fuchs (double bass) and Edward Perraud (drums);
Heur (october 2001), a collaboration with drummer Edward Perraud;
Olivier Benoit/Jean-Luc Guionnet (september 2001) with guitarist Olivier Benoit;
Return Of The New Thing was also documented on
Traque (august 2000) and
Crescendo (november 2003)
Perhaps the most ambitious collaboration is
Synapses I & IV (Selektion, 1999), that contained
Synapses I (january 1996) and
Synapses IV (june 1998),
a collaboration with fellow composer Eric Cordier which was later continued on Synapses, Synapses IV and Synapses V (Selektion, 2004).
The musicians connect the strings of
a double-bass, a cello and a guitar to a set of
string instruments ("acoustic and electric guitars, detuned piano, spinett-vina, hurdy-gurdy and cello"), percussion instruments and metal resonnators in such
a way that plucking one string causes a chain reaction of sounds.
But he is also an avantgarde composer at the border between musique concrete
and new age music.
Axene (Ground Force, 2000) collects three works for
electronics and natural sounds composed between 1989 and 1996:
Tore (Shambala, 2000) collects works for hurdy-gurdy, church-organ and
saxophone by Eric Cordier and Jean-Luc Guionnet.
Pentes (april 2001 - A Bruit Secret, 2001), a collaboration with
Eric La Casa,
Recit & Tremblant,
He is also a member of the musique concrete ensemble Afflux with
Eric LaCasa and Eric Cordier, that have released Azier St. Martin-Sur-Mer Dieppe (october 1998 - Edition, 2002) and Bouquetot, Autoroute A13/ Paris, Gare de Lyon/ Port-Jerome, Raffinerie (Ground Fault, 2003), both focusing on improvisation with environmental sounds as they occur in an open landscape.
Tirets (Hibari, 2004) uses the organ to summarize 50 years of
avantgarde techniques, from repetition to droning.
Map (july 2007) consisted of four duets
between Jean-Luc Guionnet and
Le Bruit du Toit (Xing Wu, 2008) is a jam with
percussionist Seijiro Murayama recorded in a Buddhist temple.
Noite (october 2007) was recorded by a quartet with
Guilherme Rodrigues (cello), Ernesto Rodrigues (viola) and Seijiro Murayama (percussion).
Propagations (january 2007) is a solo-sax suite in three movements for
a quartet with Marc Baron on alto, Stéphane Rives and Bertrand Denzoer play on soprano and tenor.
Toc Sine (august 2005) is an all-electronic
a collaboration with Pascal Battus.
Inscape - Lille-Flandres
is a collaboration with Eric La Casa,
a seven-movement suite premiered in october 2004.
Non-Organic Bias (2009) collects
collages of archival electronic recordings.
The Fish is a trio
with Guionnet on alto sax,
Benjamin Duboc on bass and Edward Perraud on drums, documented on
Live At Olympic Café & Jazz à Mulhouse (december 2005 and august 2006).
Soleil D'Artifice (june 2007) is a collaboration with Eric La Casa and Philip Samartzis.
Guionnet plays amplified alto sax while LaCasa and Samartzis play
computer, tapes and electronics.
Another collaboration between altosaxophonist Jean-Luc Guionnet and
percussionist Seijiro Murayama resuled in
Window Dressing (december 2010),
containing the 30-minute Procede (june 2010).
The Ames Room (with bassist Clayton Thomas and drummer Will Guthrie) released
In (august 2008) and Bird Dies (march 2010).
The trio Fish
Benjamin Duboc and drummer Edward Perraud)
debuted with the live Moon Fish (february 2010).
bassist Benjamin Duboc and drummer Edward Perraud, debuted on
the live Moon Fish (february 2010 -
Clean Feed, 2012).
Loges De Souffle (october 2010), that documents a
40-minute live performance, and
Fusees (january 2014)
were collaborations with Thomas Bonvalet (banjo, harmonica).
Intervivos (Empty, 2018) documents a noisy collaboration
with microphone and feedback player Daichi Yoshikawa.
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