Ghédalia Tazartès — La.
∩↔∩ Nosíš praštěný kostýmy, nebo tvrdíš, že jsi z jiné planety? Ne? Další!
Born: 1947 in Paris
Location: Paris, France ~ nomad
Album release: May 11th, 2014
Record Label: dBUT interambience (007)
Duration: 40:17
Tracks:
A1 Oslo — Solo (part 1) 3:06
A2 Oslo — Solo (part 2) 3:07
A3 Oslo — Solo (part 3) 3:06
A4 Oslo — Solo (part 4) 2:53
A5 Oslo — Solo (part 5) (Guest star – Lalo Tazartès) 4:47
A6 Oslo — Solo (part 6) 3:41
B1 LA. (Guest star — Alain Rigout) 19:36
Credits:
∩↔∩ Cover — Lalo Tazartès
∩↔∩ Layout — Richard Nygaard
∩↔∩ Mastering — Tommi Keränen
∩↔∩ Producer — Per Platou
Notes:
∩↔∩ 500 copies.
∩↔∩ dBUT interambience is an autonomous sub-label of dBUT.
∩↔∩ Wholesale/distribution enquiries: 
REVIEW
∩↔∩ One of the hazards of doing a blog like TWBITW is that you tend to get pretty jaded. Jake and I sift through so much oddball music that after awhile, we start to get a little hung up on the dog and pony aspect of the whole thing. It’s like — yeah, okay, you guys sound kinda weird, but do you wear goofy costumes or claim to be from another planet? No? Next!
∩↔∩ But every so often, someone introduces us to a piece of music that’s just so downright bizarre, so totally unlike anything we’ve ever heard, it really doesn’t need any kind of wacky backstory or WTF visual accompaniment. Such was the case with French musician-composer Ghédalia Tazartès and his 1979 masterpiece, Diasporas.
∩↔∩ We got wind of this completely wackadoodle album thanks to a cool little reissue label called Dais Records, who have only been around since 2007 but have already rescued a shit-ton of weird music from the scrapheap. Apparently it’s not quite available yet — we’re not sure what the release date is — but we got an email with a download of the track “Un Amour Si Grand Qu’il Nie Son Objet” and it pretty much knocked us on our asses. You can hear the whole sighing, moaning, nine-minute monstrosity in the YouTube clip below. [Update: No, you can't. And the Diasporas reissue is sold out. Read more below.] Trust us: Don’t listen to it alone after dark or in an altered state of consciousness. Actually, listening to this will probably alter your consciousness all by itself.
∩↔∩ We haven’t been able to find out too much else about Tazartès. We do know that he still occasionally does concerts (and he and his music are as bizarre as ever) and, according to his French Wikipedia page, he still releases music. He also apparently operates out of a home studio in Paris that looks like something out of a Jean-Pierre Jeunet movie. He was interviewed in the September 2008 issue of Wire but as far as we can tell, the interview’s not available online. The only other English-language article we could find on him is this unreadably pretentious mess. So he remains a bit of enigma, at least to us poor Americans. Hopefully the Dais reissue will help to change that.
∩↔∩ We could attempt to describe Tazartès’ music–French avant-garde gypsy trance minimalism? — but really, there’s not much point. You just have to hear it. This guy is attuned to some other frequencies, for real.
∩↔∩ P.S. We originally embedded a YouTube clip of this track from a YouTube channel called Undergroundedful, but the whole channel has since been taken down due to copyright claims. While we totally recognize the right of copyright owners to protect their work, we also think it’s a bummer when obscure and hard-to-find music gets taken off the Internet and put further out of the reach of potential new audiences. Anyhow, hopefully the above YouTube video stays up a while longer.
∩↔∩ P.P.S. Okay, so the second YouTube clip was also removed due to copyright claims. Apparently Mr. Tazartès, or one of his representatives, really doesn’t want the Internet to know he exists. But hey, third time’s a charm, maybe?
∩↔∩ P.P.P.S. A kindly reader provided a Soundcloud link to “Un Amour Si Grand Qu’il Nie Son Objet” in the comments, but we decided to delete it because, unfortunately, we have to be careful about such things. If anyone knows of any authorized Tazartès music available online, let us know about it, please! We’d like our readers to hear more of his weirdly beautiful stuff for themselves. (http://weirdestbandintheworld.com/)
_______________________________________________________________
∩↔∩ A French musician of Turkish parentage, French cult artist Ghédalia Tazartès is an uncompromising character who defies categorization. He recorded alone a dozen of albums, calling his way of working “Impromuz” for lack of a better term. His public appearances remain exceptional events.
∩↔∩ Ghédalia Tazartès’ music has always been a mystery. It switches from musique concrète to — existing or invented — ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but it constantly is in flux and coherent.
© Ghédalia Tazartès & Maya Dunietz @ Cafe Oto, London, 2nd December
∩↔∩ In 2004, Ghedalia finally decided to do live performances again. He first went with other musicians (Les Reines d’Angleterre, David Fenech & Jac Berrocal, Norscq & Black Sifichi, Nicolas Lelièvre) and is now a solo performing artist (although his very young son sometimes joins him on stage!).
∩↔∩ Since 2009 Tazartès played in Riga, Bruxelles, Rotterdam, Venise, Dijon, Marseille, Lyon, Varsovie, Jerusalem, Tel Aviv, Le Thor, Madrid, Paris, Poitiers, London, Neuchatel, Hasselt, Berlin, Toulouse, Lausanne, Dunkerque, Glasgow, Den Hague, Dusseldorf, etc.
∩↔∩ On Sunday 3rd February 2013, Ghédalia presented his new solo show at CTM in Berlin Festival to a packed HAU2. The new show is based around the music of Tazartès’ lattest album ‘Coda Lunga.’ Says Tazartès: ‘I thought I had only played for 5 minutes in Berlin… then I realised I had been going on for more than one hour!’
∩↔∩ In 2008, Tazartes had been invited to perform for the Patti Smith exhibition at the Fondation Cartier in Paris. In the same Cartier Foundation he later created the cinemix “Häxan” on April 21st 2011 for the “Vaudou” exhibition and toured with the project for a couple of years to great aclaim.
TV
∩↔∩ Tazartes on TV in 25 April 2012 (first time since 1982), watch it again here. It features some amazing footage from 82 — when GT had hair!!)
http://desmotsdeminuit.france2.fr/?id-video=rhozet_dmdm_20120425_183_26042012122519_F2&vdo=1
DISCOGRAPHY :
* Quelque Part Quelqu’un, mini LP, recorded 1977, released 2011
* Diasporas, LP, recorded 1977, Cobalt, 1979
* Tazartès Transports, LP, recorded 1979, autoproduction, 1980
* Une éclipse totale de soleil, LP, recorded 1979, Celluloïd, 1984
* Tazartès, recorded 1979, LP, AYAA, 1987
* Check Point Charlie, CD, AYAA, 1990
* Voyage à l’ombre, CD, Demosaurus, 1997
* 5 Rimbaud 1 Verlaine, mini-CD, Jardin au Fou, 2006
* Les danseurs de la pluie, mini CD, Alga Marghen, 2006
* Alma Marghen Anthology, 4cd box Alga Marghen 2006
* Jeanne, CD, Vand’Oeuvre, 2007
* Hystérie off Music, CD, Jardin au Fou, 2007
* Repas Froid, CD, Tanz Procesz, 2009
* Les Comores w. Reines d’Angleterre, LP, Bo’ Weavil Recordings, 2009
* Ante Mortem, CD, Hinterzimmer, 2010
* Works 1977-79, 4 LP-Box, Vinyl on Demand, 2011
* Repas Froid, LP, PAN 17, 2011
* Granny Awards, LP, PAN Marghen, 2011
* Globe et Dynastie w. with Reines d’Angleterre, Bo’ Weavil Recordings, 2012
* Coda Lunga, CD+DVD, VDN 816, 2012
* Voyage à l’ombre, reissue CD, Hinterzimmer, 2013
PRESS :
∩↔∩ See a selection of unpublished photographs detailing Ghédalia Tazartès’s unusual home and music studio, which the musician (who has lived there since 1967) sees as fundamental to his compositional work. “Without it, I don’t know if I’m a musician”, he told Nick Cain in the interview.
∩↔∩ “Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker (…) Ghédalia is the orchestra and a pop group all in one person; the solitary opera explodes himself into an infinity of characters. The self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. Off limits, music descends, cries and screams when it touches the ground.” — (André Glucksmann)
∩↔∩ “[…] every so often, someone introduces us to a piece of music that’s just so downright bizarre, so totally unlike anything we’ve ever heard, it really doesn’t need any kind of wacky backstory or WTF visual accompaniment. Such was the case with French musician-composer Ghédalia Tazartès and his 1979 masterpiece, Diasporas. […] Trust us: Don’t listen to it alone after dark or in an altered state of consciousness. Actually, listening to this will probably alter your consciousness all by itself. […] We could attempt to describe Tazartès’ music–French avant-garde gypsy trance minimalism? — but really, there’s not much point. You just have to hear it. This guy is attuned to some other frequencies, for real. — weirdestbandintheworld.com
You need to have this as a part of your life, whether you are a indie rock nerd or a black metal nerd. — http://iownsomerecords.tumblr.com
∩↔∩ Unusually personal & intimate musique concrete have made Tazartes’ name a watchword for people with serious ears (and a cd reissues on Alga Marghen in the early 2000s certainly helped too). Fluid field recording loops of children talking & gabbering in French, with somber muted organ drone swaying slowly along behind them. Tazartes’ crackshot & cathartic vocal wailing is as beautiful as a blade of grass, & there’s plenty of it here along with metal riffs, koto boings, doom-laden classical strings, & other oddities. There’s even some recordings of Tazartes’ daughter & piano bits. Includes ‘Diasporas’, ‘Une Eclipse Totale de Soleil’, ‘Tazartes’, Transports’ and a 10 inch of unreleased material called ‘Quelque Part Quelqu’un’. — http://weirdorecords.com
∩↔∩ If you wanted to own a record of music that is absolutely different from almost anything you’ve known or heard, snap to it: Dais’ reissue of the NWW List-approved vocal melee by Parisian pyrrhic warbler Ghédalia Tazartès is instantly one of the most difficult records of my nearly 35 years aboard this dying mudball. Calls to prayer meets calls of strangulation, calls of possession, a spiritual intifada from the darkest corners of the cabarets to the recording studio to the vastness of the desert’s sprawl, all channeled through Tazartès’ extreme styles, going from soaring wails to multi-toned throat singing, sometimes in the same track. This is nightmare music that’ll make you feel unclean and weird, designed to break your concentration and focus on it and it alone. And if you can deal with it, you’re tougher than me. 500 numbered copies. — (http://www.daisrecords.com)
∩↔∩ “4LP-Box with 10″ Tazartes Transports, Tazartes, Diaspora, Une Eclipse Totale De Soleil, and Quelque Part Quelqu’un. The French artist and autodidact Ghedalia Tazartes who is born in Paris in 1947 is a true nomad spending more than 30 years within musical practice and experimentation. Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others, freely connecting the sounds, the rhythms, his voice, his voices. The extra-European music opens the ear to Ghedalia’s intra-European exotism. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification, diametrical to the purists of synthetic culture and technocrates of noise. He wanders through music from chant to rhythm, from one voice to another. Utilizing magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. This box concentrates on his early works from 1977-1979 and his four officially released vinyl-LP’s plus a 10″ of an unreleased work from 1978. All the material is superbly remastered for vinyl by Anders Peterson of www.ghostsounds.net pushing the overall quality and dimension in sound to an amazing new level and experience.” — SquidCo
∩↔∩ ‘Transports’ is the incredible 2nd album by audodidact and outsider musician/composer Tazartès. Originally released on vinyl in 1980, it has now been reissued with extra material on CD in 1998 and 2009, and “Probably represents the most original example of the artist’s poetical and personal approach to sound organisation.” The tracks for ‘Transports’ were recorded in 1977 at Ghedalia’s own studio in Paris, strafing stream-of-conscious between rippling electro rhythms to outernational singing styles, collaged field recordings and musique concrete, to chants, tape loops and exotic atmospheres with a perpetual sense of drift and magical imagination. We’re spellbound from the first to last, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5 and the lost zones of the closing stages. Also included are the two parts of ‘Transports’ which were composed and recorded for a theatre piece later in 1997 and produced by Emanuele Carcano. These are denser, more spacious and dramatic, but not necessarily that great. The disc concludes with ‘Elie’, a charming piano piece performed in duo with the composer’s young daughter. For the original ‘Transports’ at least, this is nigh on essential for fans of adventurous electronic music and composition. — http://boomkat.com
∩↔∩ Un orchestre à lui tout seul (sa voix se transforme en voix d’enfant , de femme, de viellard, de chamane). “Il assemble des éléments sonores de différentes natures. De la musique jouée avec de vrais instruments, par lui et, le cas échéant, des invités. De vraies chansons traditionnelles. De la poésie savante ou populaire. Différentes langues minoritaires ou majoritaires, utilisées pour leur place symbolique dans le grand jeu de la domination culturelle. Une langue inventée par lui, aussi, spécialement pour chanter, et cristallisant ce que toutes les langues oublient de dire. Et il replace ces créations sonores de l’homme dans leur contexte bruyant signifiant, dans le grand bruissement de l’univers des choses. Des sons témoignages, des sons d’atmosphères, des prélèvements dans l’environnement social et naturel. Mais il ne les transforme pas en «autre chose» comme il est banal de le faire aujourd’hui avec les nouvelles machines. Non, il conserve leur identité d’origine et en renforce la signification. Ce qui l’intéresse est bien ce qu’ont à dire ces objets sonores du monde qui nous entoure, monde matériel et immatériel, monde de l’échange marchand et non-marchand. Il les rend plus bavards, il les fait parler en les plongeant dans des agencements qui leur sont étrangers. Il coupe et monte des images sonores selon les techniques utilisées au cinéma et cette technique fait ressortir leur sens.” — (Pierre Hemptine).
∩↔∩ “Beaucoup revendiquent un cinéma pour l’oreille, dans cette catégorie, Ghédalia Tazartès est de loin le plus grand de tous. Sa musique assemble des éléments sonores de toutes natures et de toutes provenances. Tout peut surgir d’un moment à l’autre quand on ne s’y attend pas et c’est toujours ce que l’on n’attend pas. On navigue entre Orient et Occident ou on ne sait où. Il y a surtout sa voix ou plutôt ses voix, car elles sont multiples, elles tissent des motifs incantatoires aux pouvoirs hypnotiques, mais il n’y a pas chez lui d’extase monacale ou de dépouillement, Ghédalia Tazartès fait dans la profusion, l’abondance, une jubilation jusqu’à la transe de sons et de mots malaxés dans différentes langues. Ghédalia Tazartès invente quelque chose de complètement différent. Dans les années deux mille, après une éclipse de presque une décennie, Ghédalia Tazartès revient grâce à une nouvelle génération de passionnés (qu’ils soient nommés et remerciés ici : David Fenech, Marie-Pierre Bonniol, Sébastien Morlighem, Dominique Répécaud.” — (Dominique Grimaud)
∩↔∩ “Tazartès fait de la musique expérimentale comme je me fais des pâtes. Fréquemment et sans mode d’emploi. À l’inverse de ce qui se trouve dans mon assiette, ce Repas Froid est succulent. Collages, envolées de voix chamaniques perdues en folies, ces archives déterrées par Tanz Procesz sont équivalentes au meilleur menu du maître. Un OVNI qui se déguste sans fin.” — (nextclues)
Interview:
Par David Fenech, Paris 4 Octobre, 1997
:: http://davidfenech.fr/wp/1997/05/02/ghedalia-tazartes-voyage-a-lombre/
Facebook: https://www.facebook.com/pages/Ghedalia-Tazartes/22773852417
Agent: Contact professionnel :
In french:
Une musique inclassable:
∩↔∩ On peut rapprocher parfois son travail de la Musique concrète pour sa manipulation des bandes Revox et le collage des sons, alors même qu'il dit n'avoir découvert que postérieurement le travail de Pierre Schaeffer et de Pierre Henry. Il a par exemple, collaboré avec Michel Chion (il chante sur un morceau de La Ronde, il joue un morceau de ce dernier sur Diasporas/Tazartès). "Ce qui l’intéresse est bien ce qu’ont à dire ces objets sonores du monde qui nous entoure, monde matériel et immatériel, monde de l’échange marchand et non-marchand. Il les rend plus bavards, il les fait parler en les plongeant dans des agencements qui leur sont étrangers. Il coupe et monte des images sonores selon les techniques utilisées au cinéma et cette technique fait ressortir leur sens. Ce sont de véritables films sonores laissant beaucoup plus de place à l’interprétation parce que le son est moins prescripteur que l’image."
"Ghédalia Tazartès s'invente un monde qui semble s'inspirer de différentes traditions qui ont traversé son "pays". Il se réapproprie ou recrée les idiomes de certaines musiques traditionnelles."
∩↔∩ Mais, Tazartès joue aussi de divers instruments en autodidacte.
∩↔∩ Et, on songe aussi à la Poésie sonore pour l'importance accordée à la déclamation, à la Voix, au Texte. Tazartès met aussi en voix des textes classiques (comme Stéphane Mallarmé sur Diasporas/Tazartès, Paul Verlaine sur Voyage A L'Ombre, Arthur Rimbaud et Verlaine en 2006).
∩↔∩ La poésie et la personne même de Tazartès, avec son chapeau à la Joseph Beuys, a notamment habité Dell'Inferno, expérience théâtrale d'André Engel (1982). On le retrouvera également plusieurs fois aux côtés de Bernard Sobel et Philippe Adrien.
∩↔∩ En 2009, il commence à jouer en trio avec les musiciens David Fenech et Jac Berrocal. Il se produit depuis 2010 en solo (plus de 30 concerts à travers le monde) et a présenté un nouveau projet, le cinémix "Häxan" ("La sorcellerie à travers les âges") le 21 avril 2011 à la Fondation Cartier.
_______________________________________________________________
∩↔∩ Nosíš praštěný kostýmy, nebo tvrdíš, že jsi z jiné planety? Ne? Další!
Born: 1947 in Paris
Location: Paris, France ~ nomad
Album release: May 11th, 2014
Record Label: dBUT interambience (007)
Duration: 40:17
Tracks:
A1 Oslo — Solo (part 1) 3:06
A2 Oslo — Solo (part 2) 3:07
A3 Oslo — Solo (part 3) 3:06
A4 Oslo — Solo (part 4) 2:53
A5 Oslo — Solo (part 5) (Guest star – Lalo Tazartès) 4:47
A6 Oslo — Solo (part 6) 3:41
B1 LA. (Guest star — Alain Rigout) 19:36
Credits:
∩↔∩ Cover — Lalo Tazartès
∩↔∩ Layout — Richard Nygaard
∩↔∩ Mastering — Tommi Keränen
∩↔∩ Producer — Per Platou
Notes:
∩↔∩ 500 copies.
∩↔∩ dBUT interambience is an autonomous sub-label of dBUT.
∩↔∩ Wholesale/distribution enquiries:
REVIEW
∩↔∩ One of the hazards of doing a blog like TWBITW is that you tend to get pretty jaded. Jake and I sift through so much oddball music that after awhile, we start to get a little hung up on the dog and pony aspect of the whole thing. It’s like — yeah, okay, you guys sound kinda weird, but do you wear goofy costumes or claim to be from another planet? No? Next!
∩↔∩ But every so often, someone introduces us to a piece of music that’s just so downright bizarre, so totally unlike anything we’ve ever heard, it really doesn’t need any kind of wacky backstory or WTF visual accompaniment. Such was the case with French musician-composer Ghédalia Tazartès and his 1979 masterpiece, Diasporas.
∩↔∩ We got wind of this completely wackadoodle album thanks to a cool little reissue label called Dais Records, who have only been around since 2007 but have already rescued a shit-ton of weird music from the scrapheap. Apparently it’s not quite available yet — we’re not sure what the release date is — but we got an email with a download of the track “Un Amour Si Grand Qu’il Nie Son Objet” and it pretty much knocked us on our asses. You can hear the whole sighing, moaning, nine-minute monstrosity in the YouTube clip below. [Update: No, you can't. And the Diasporas reissue is sold out. Read more below.] Trust us: Don’t listen to it alone after dark or in an altered state of consciousness. Actually, listening to this will probably alter your consciousness all by itself.
∩↔∩ We haven’t been able to find out too much else about Tazartès. We do know that he still occasionally does concerts (and he and his music are as bizarre as ever) and, according to his French Wikipedia page, he still releases music. He also apparently operates out of a home studio in Paris that looks like something out of a Jean-Pierre Jeunet movie. He was interviewed in the September 2008 issue of Wire but as far as we can tell, the interview’s not available online. The only other English-language article we could find on him is this unreadably pretentious mess. So he remains a bit of enigma, at least to us poor Americans. Hopefully the Dais reissue will help to change that.
∩↔∩ We could attempt to describe Tazartès’ music–French avant-garde gypsy trance minimalism? — but really, there’s not much point. You just have to hear it. This guy is attuned to some other frequencies, for real.
∩↔∩ P.S. We originally embedded a YouTube clip of this track from a YouTube channel called Undergroundedful, but the whole channel has since been taken down due to copyright claims. While we totally recognize the right of copyright owners to protect their work, we also think it’s a bummer when obscure and hard-to-find music gets taken off the Internet and put further out of the reach of potential new audiences. Anyhow, hopefully the above YouTube video stays up a while longer.
∩↔∩ P.P.S. Okay, so the second YouTube clip was also removed due to copyright claims. Apparently Mr. Tazartès, or one of his representatives, really doesn’t want the Internet to know he exists. But hey, third time’s a charm, maybe?
∩↔∩ P.P.P.S. A kindly reader provided a Soundcloud link to “Un Amour Si Grand Qu’il Nie Son Objet” in the comments, but we decided to delete it because, unfortunately, we have to be careful about such things. If anyone knows of any authorized Tazartès music available online, let us know about it, please! We’d like our readers to hear more of his weirdly beautiful stuff for themselves. (http://weirdestbandintheworld.com/)
_______________________________________________________________
∩↔∩ A French musician of Turkish parentage, French cult artist Ghédalia Tazartès is an uncompromising character who defies categorization. He recorded alone a dozen of albums, calling his way of working “Impromuz” for lack of a better term. His public appearances remain exceptional events.
∩↔∩ Ghédalia Tazartès’ music has always been a mystery. It switches from musique concrète to — existing or invented — ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but it constantly is in flux and coherent.
∩↔∩ In 2004, Ghedalia finally decided to do live performances again. He first went with other musicians (Les Reines d’Angleterre, David Fenech & Jac Berrocal, Norscq & Black Sifichi, Nicolas Lelièvre) and is now a solo performing artist (although his very young son sometimes joins him on stage!).
∩↔∩ Since 2009 Tazartès played in Riga, Bruxelles, Rotterdam, Venise, Dijon, Marseille, Lyon, Varsovie, Jerusalem, Tel Aviv, Le Thor, Madrid, Paris, Poitiers, London, Neuchatel, Hasselt, Berlin, Toulouse, Lausanne, Dunkerque, Glasgow, Den Hague, Dusseldorf, etc.
∩↔∩ On Sunday 3rd February 2013, Ghédalia presented his new solo show at CTM in Berlin Festival to a packed HAU2. The new show is based around the music of Tazartès’ lattest album ‘Coda Lunga.’ Says Tazartès: ‘I thought I had only played for 5 minutes in Berlin… then I realised I had been going on for more than one hour!’
∩↔∩ In 2008, Tazartes had been invited to perform for the Patti Smith exhibition at the Fondation Cartier in Paris. In the same Cartier Foundation he later created the cinemix “Häxan” on April 21st 2011 for the “Vaudou” exhibition and toured with the project for a couple of years to great aclaim.
TV
∩↔∩ Tazartes on TV in 25 April 2012 (first time since 1982), watch it again here. It features some amazing footage from 82 — when GT had hair!!)
http://desmotsdeminuit.france2.fr/?id-video=rhozet_dmdm_20120425_183_26042012122519_F2&vdo=1
DISCOGRAPHY :
* Quelque Part Quelqu’un, mini LP, recorded 1977, released 2011
* Diasporas, LP, recorded 1977, Cobalt, 1979
* Tazartès Transports, LP, recorded 1979, autoproduction, 1980
* Une éclipse totale de soleil, LP, recorded 1979, Celluloïd, 1984
* Tazartès, recorded 1979, LP, AYAA, 1987
* Check Point Charlie, CD, AYAA, 1990
* Voyage à l’ombre, CD, Demosaurus, 1997
* 5 Rimbaud 1 Verlaine, mini-CD, Jardin au Fou, 2006
* Les danseurs de la pluie, mini CD, Alga Marghen, 2006
* Alma Marghen Anthology, 4cd box Alga Marghen 2006
* Jeanne, CD, Vand’Oeuvre, 2007
* Hystérie off Music, CD, Jardin au Fou, 2007
* Repas Froid, CD, Tanz Procesz, 2009
* Les Comores w. Reines d’Angleterre, LP, Bo’ Weavil Recordings, 2009
* Ante Mortem, CD, Hinterzimmer, 2010
* Works 1977-79, 4 LP-Box, Vinyl on Demand, 2011
* Repas Froid, LP, PAN 17, 2011
* Granny Awards, LP, PAN Marghen, 2011
* Globe et Dynastie w. with Reines d’Angleterre, Bo’ Weavil Recordings, 2012
* Coda Lunga, CD+DVD, VDN 816, 2012
* Voyage à l’ombre, reissue CD, Hinterzimmer, 2013
PRESS :
∩↔∩ See a selection of unpublished photographs detailing Ghédalia Tazartès’s unusual home and music studio, which the musician (who has lived there since 1967) sees as fundamental to his compositional work. “Without it, I don’t know if I’m a musician”, he told Nick Cain in the interview.
∩↔∩ “Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker (…) Ghédalia is the orchestra and a pop group all in one person; the solitary opera explodes himself into an infinity of characters. The self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. Off limits, music descends, cries and screams when it touches the ground.” — (André Glucksmann)
∩↔∩ “[…] every so often, someone introduces us to a piece of music that’s just so downright bizarre, so totally unlike anything we’ve ever heard, it really doesn’t need any kind of wacky backstory or WTF visual accompaniment. Such was the case with French musician-composer Ghédalia Tazartès and his 1979 masterpiece, Diasporas. […] Trust us: Don’t listen to it alone after dark or in an altered state of consciousness. Actually, listening to this will probably alter your consciousness all by itself. […] We could attempt to describe Tazartès’ music–French avant-garde gypsy trance minimalism? — but really, there’s not much point. You just have to hear it. This guy is attuned to some other frequencies, for real. — weirdestbandintheworld.com
You need to have this as a part of your life, whether you are a indie rock nerd or a black metal nerd. — http://iownsomerecords.tumblr.com
∩↔∩ Unusually personal & intimate musique concrete have made Tazartes’ name a watchword for people with serious ears (and a cd reissues on Alga Marghen in the early 2000s certainly helped too). Fluid field recording loops of children talking & gabbering in French, with somber muted organ drone swaying slowly along behind them. Tazartes’ crackshot & cathartic vocal wailing is as beautiful as a blade of grass, & there’s plenty of it here along with metal riffs, koto boings, doom-laden classical strings, & other oddities. There’s even some recordings of Tazartes’ daughter & piano bits. Includes ‘Diasporas’, ‘Une Eclipse Totale de Soleil’, ‘Tazartes’, Transports’ and a 10 inch of unreleased material called ‘Quelque Part Quelqu’un’. — http://weirdorecords.com
∩↔∩ If you wanted to own a record of music that is absolutely different from almost anything you’ve known or heard, snap to it: Dais’ reissue of the NWW List-approved vocal melee by Parisian pyrrhic warbler Ghédalia Tazartès is instantly one of the most difficult records of my nearly 35 years aboard this dying mudball. Calls to prayer meets calls of strangulation, calls of possession, a spiritual intifada from the darkest corners of the cabarets to the recording studio to the vastness of the desert’s sprawl, all channeled through Tazartès’ extreme styles, going from soaring wails to multi-toned throat singing, sometimes in the same track. This is nightmare music that’ll make you feel unclean and weird, designed to break your concentration and focus on it and it alone. And if you can deal with it, you’re tougher than me. 500 numbered copies. — (http://www.daisrecords.com)
∩↔∩ “4LP-Box with 10″ Tazartes Transports, Tazartes, Diaspora, Une Eclipse Totale De Soleil, and Quelque Part Quelqu’un. The French artist and autodidact Ghedalia Tazartes who is born in Paris in 1947 is a true nomad spending more than 30 years within musical practice and experimentation. Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others, freely connecting the sounds, the rhythms, his voice, his voices. The extra-European music opens the ear to Ghedalia’s intra-European exotism. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification, diametrical to the purists of synthetic culture and technocrates of noise. He wanders through music from chant to rhythm, from one voice to another. Utilizing magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. This box concentrates on his early works from 1977-1979 and his four officially released vinyl-LP’s plus a 10″ of an unreleased work from 1978. All the material is superbly remastered for vinyl by Anders Peterson of www.ghostsounds.net pushing the overall quality and dimension in sound to an amazing new level and experience.” — SquidCo
∩↔∩ ‘Transports’ is the incredible 2nd album by audodidact and outsider musician/composer Tazartès. Originally released on vinyl in 1980, it has now been reissued with extra material on CD in 1998 and 2009, and “Probably represents the most original example of the artist’s poetical and personal approach to sound organisation.” The tracks for ‘Transports’ were recorded in 1977 at Ghedalia’s own studio in Paris, strafing stream-of-conscious between rippling electro rhythms to outernational singing styles, collaged field recordings and musique concrete, to chants, tape loops and exotic atmospheres with a perpetual sense of drift and magical imagination. We’re spellbound from the first to last, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5 and the lost zones of the closing stages. Also included are the two parts of ‘Transports’ which were composed and recorded for a theatre piece later in 1997 and produced by Emanuele Carcano. These are denser, more spacious and dramatic, but not necessarily that great. The disc concludes with ‘Elie’, a charming piano piece performed in duo with the composer’s young daughter. For the original ‘Transports’ at least, this is nigh on essential for fans of adventurous electronic music and composition. — http://boomkat.com
∩↔∩ Un orchestre à lui tout seul (sa voix se transforme en voix d’enfant , de femme, de viellard, de chamane). “Il assemble des éléments sonores de différentes natures. De la musique jouée avec de vrais instruments, par lui et, le cas échéant, des invités. De vraies chansons traditionnelles. De la poésie savante ou populaire. Différentes langues minoritaires ou majoritaires, utilisées pour leur place symbolique dans le grand jeu de la domination culturelle. Une langue inventée par lui, aussi, spécialement pour chanter, et cristallisant ce que toutes les langues oublient de dire. Et il replace ces créations sonores de l’homme dans leur contexte bruyant signifiant, dans le grand bruissement de l’univers des choses. Des sons témoignages, des sons d’atmosphères, des prélèvements dans l’environnement social et naturel. Mais il ne les transforme pas en «autre chose» comme il est banal de le faire aujourd’hui avec les nouvelles machines. Non, il conserve leur identité d’origine et en renforce la signification. Ce qui l’intéresse est bien ce qu’ont à dire ces objets sonores du monde qui nous entoure, monde matériel et immatériel, monde de l’échange marchand et non-marchand. Il les rend plus bavards, il les fait parler en les plongeant dans des agencements qui leur sont étrangers. Il coupe et monte des images sonores selon les techniques utilisées au cinéma et cette technique fait ressortir leur sens.” — (Pierre Hemptine).
∩↔∩ “Beaucoup revendiquent un cinéma pour l’oreille, dans cette catégorie, Ghédalia Tazartès est de loin le plus grand de tous. Sa musique assemble des éléments sonores de toutes natures et de toutes provenances. Tout peut surgir d’un moment à l’autre quand on ne s’y attend pas et c’est toujours ce que l’on n’attend pas. On navigue entre Orient et Occident ou on ne sait où. Il y a surtout sa voix ou plutôt ses voix, car elles sont multiples, elles tissent des motifs incantatoires aux pouvoirs hypnotiques, mais il n’y a pas chez lui d’extase monacale ou de dépouillement, Ghédalia Tazartès fait dans la profusion, l’abondance, une jubilation jusqu’à la transe de sons et de mots malaxés dans différentes langues. Ghédalia Tazartès invente quelque chose de complètement différent. Dans les années deux mille, après une éclipse de presque une décennie, Ghédalia Tazartès revient grâce à une nouvelle génération de passionnés (qu’ils soient nommés et remerciés ici : David Fenech, Marie-Pierre Bonniol, Sébastien Morlighem, Dominique Répécaud.” — (Dominique Grimaud)
∩↔∩ “Tazartès fait de la musique expérimentale comme je me fais des pâtes. Fréquemment et sans mode d’emploi. À l’inverse de ce qui se trouve dans mon assiette, ce Repas Froid est succulent. Collages, envolées de voix chamaniques perdues en folies, ces archives déterrées par Tanz Procesz sont équivalentes au meilleur menu du maître. Un OVNI qui se déguste sans fin.” — (nextclues)
Interview:
Par David Fenech, Paris 4 Octobre, 1997
:: http://davidfenech.fr/wp/1997/05/02/ghedalia-tazartes-voyage-a-lombre/
Facebook: https://www.facebook.com/pages/Ghedalia-Tazartes/22773852417
Agent: Contact professionnel :
In french:
Une musique inclassable:
∩↔∩ On peut rapprocher parfois son travail de la Musique concrète pour sa manipulation des bandes Revox et le collage des sons, alors même qu'il dit n'avoir découvert que postérieurement le travail de Pierre Schaeffer et de Pierre Henry. Il a par exemple, collaboré avec Michel Chion (il chante sur un morceau de La Ronde, il joue un morceau de ce dernier sur Diasporas/Tazartès). "Ce qui l’intéresse est bien ce qu’ont à dire ces objets sonores du monde qui nous entoure, monde matériel et immatériel, monde de l’échange marchand et non-marchand. Il les rend plus bavards, il les fait parler en les plongeant dans des agencements qui leur sont étrangers. Il coupe et monte des images sonores selon les techniques utilisées au cinéma et cette technique fait ressortir leur sens. Ce sont de véritables films sonores laissant beaucoup plus de place à l’interprétation parce que le son est moins prescripteur que l’image."
"Ghédalia Tazartès s'invente un monde qui semble s'inspirer de différentes traditions qui ont traversé son "pays". Il se réapproprie ou recrée les idiomes de certaines musiques traditionnelles."
∩↔∩ Mais, Tazartès joue aussi de divers instruments en autodidacte.
∩↔∩ Et, on songe aussi à la Poésie sonore pour l'importance accordée à la déclamation, à la Voix, au Texte. Tazartès met aussi en voix des textes classiques (comme Stéphane Mallarmé sur Diasporas/Tazartès, Paul Verlaine sur Voyage A L'Ombre, Arthur Rimbaud et Verlaine en 2006).
∩↔∩ La poésie et la personne même de Tazartès, avec son chapeau à la Joseph Beuys, a notamment habité Dell'Inferno, expérience théâtrale d'André Engel (1982). On le retrouvera également plusieurs fois aux côtés de Bernard Sobel et Philippe Adrien.
∩↔∩ En 2009, il commence à jouer en trio avec les musiciens David Fenech et Jac Berrocal. Il se produit depuis 2010 en solo (plus de 30 concerts à travers le monde) et a présenté un nouveau projet, le cinémix "Häxan" ("La sorcellerie à travers les âges") le 21 avril 2011 à la Fondation Cartier.
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