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Search Result for Artist Areski
viewing 1 To 6 of 6 items
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LP
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MMLP 018LP
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Monster Mélodies presents the second in a two-part unpublished recording of a concert by Brigitte Fontaine and Areski Belkacem at studio 102 of the Maison de la Radio dating May 21st, 1973. Areski Belkacem and Brigitte Fontaine, major artists of the French counterculture, were often be censored or deliberately ignored by the media due to their libertarian positions. Obtaining success at a late stage, it was not until the album Kékéland in 2001 and Rue Saint Louis en l'Ile in 2004, for Brigitte Fontaine to earn gold records. At the turn of Brigitte Fontaine's career, when breaking away from the Jacques Canetti team she made new encounters. After collaboration with Jacques Higelin, she meets Areski Belkacem. She then met Pierre Barouh who supported the Fontaine/Areski duo, by producing a handful of cult albums on his label, Saravah. As well as meeting Jean Karakos, boss of the BYG label. They became the first musicians in France blending free jazz with their own musical production in recording with the Art Ensemble of Chicago. Their free music accompanies the free inventive and provocative poetry of Brigitte Fontaine. Theater remains the first passion of Brigitte, who began to perform on stage at the age of twelve in a play by Marivaux before continuing with classical repertoires Audiberti, Molière, Giono, Vian, Genet. Constantly active, Areski and Fontaine went on the most improbable tours scouring small provincial theaters, playing in prisons and psychiatric hospitals, losing themselves in confidential and financially catastrophic tours, including in Canada and in Algeria in 1970 only ten years after the conflict. The record Concert Théâtral was recorded in 1973. A year which was a turning point in the career of the duo, the two artists decided to perform on stage without musicians to accompany them and in a stripped-down staging. The songs here are all filled with the inventive and offbeat poetry of Brigitte Fontaine, accompanied by atypical music created by Areski, they appear on their various albums published between 1971 and 1973 but are here interpreted in their simpler expression, on stage, without the help of other musicians, the duo accompanying themselves on guitar, percussion, and accordion. A recital taking as much of the singing as of the theater, or happening such as the two artists produced between 1973 and 1979, in a unique way and of which it remains here the only testimony. The recording of this concert at studio 102 of the Maison de la Radio dating May 21st 1973, had been broadcasted on "France Culture" on November 2nd 1973 but remained unpublished until now. Edition of 1000 on color vinyl (numbered).
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LP
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MMLP 017LP
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Monster Mélodies presents Concert Théâtral, an unpublished public recording by Brigitte Fontaine and Areski Belkacem dating from 1973. Areski Belkacem and Brigitte Fontaine, major artists of the French counterculture, were often be censored or deliberately ignored by the media due to their libertarian positions. Obtaining success at a late stage, it was not until the album Kékéland in 2001 and Rue Saint Louis en l'Ile in 2004, for Brigitte Fontaine to earn gold records. At the turn of Brigitte Fontaine's career, when breaking away from the Jacques Canetti team she made new encounters. After collaboration with Jacques Higelin, she meets Areski Belkacem. She then met Pierre Barouh who supported the Fontaine/Areski duo, by producing a handful of cult albums on his label, Saravah. As well as meeting Jean Karakos, boss of the BYG label. They became the first musicians in France blending free jazz with their own musical production in recording with the Art Ensemble of Chicago. Their free music accompanies the free inventive and provocative poetry of Brigitte Fontaine. Theater remains the first passion of Brigitte, who began to perform on stage at the age of twelve in a play by Marivaux before continuing with classical repertoires Audiberti, Molière, Giono, Vian, Genet. Constantly active, Areski and Fontaine went on the most improbable tours scouring small provincial theaters, playing in prisons and psychiatric hospitals, losing themselves in confidential and financially catastrophic tours, including in Canada and in Algeria in 1970 only ten years after the conflict. The record Concert Théâtral was recorded in 1973. A year which was a turning point in the career of the duo, the two artists decided to perform on stage without musicians to accompany them and in a stripped-down staging. The songs here are all filled with the inventive and offbeat poetry of Brigitte Fontaine, accompanied by atypical music created by Areski, they appear on their various albums published between 1971 and 1973 but are here interpreted in their simpler expression, on stage, without the help of other musicians, the duo accompanying themselves on guitar, percussion, and accordion. A recital taking as much of the singing as of the theater, or happening such as the two artists produced between 1973 and 1979, in a unique way and of which it remains here the only testimony. The recording of this concert at studio 102 of the Maison de la Radio dating May 21st 1973, had been broadcasted on "France Culture" on November 2nd 1973 but remained unpublished until now. Edition of 1000 on color vinyl (numbered).
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CD
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FFL 043CD
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Souffle Continu Records present the first ever reissue of Areski's Un Beau Matin, originally released in 1970. Only those who read all the credits on record liner notes will know the full details: Areski is of course Brigitte Fontaine's partner in life, but also her creative alter ego, and the composer of the music of most of her songs. Even though it was his wife Brigitte and not him who wrote the lyrics, Areski is a poet in his own right. Furthermore, he is polyvalent: composing, arranging, singing, improvising, playing every possible instrument, and even acting. Areski, to sum up, is the perfect mix of the tradition of Munir Bashir with the European "sophistication" of someone like Jean-Claude Vannier, one foot permanently in Versailles (where he was born) and the maghreb. Areski, is left bank French songs without the stylistic effects, revised and updated through contact with Arab-Andalusian music. He is a Living Theatre style happening with a dose of cosmic free jazz; surrealist poetry viewed through the prism of Kabyle culture... Areski honed his talent observing the stars of traditional chaâbi, testing it out in bars and dives before meeting, during military service, the singer Jacques Higelin with whom he would record his first cult album (1969), and who would present him to his wife-to-be, Brigitte Fontaine. Between 1969 and 1980, with Fontaine, Areski would contribute an essential chapter to French underground music including classics such as Comme à la radio (with the Art Ensemble of Chicago) (1969), Je ne connais pas cet homme (1973), L'Incendie (1973), Le Bonheur (1975), and Vous et nous (1977). For all that, Areski has never really tried to have a career under his own name, in spite of the wonderful Un Beau Matin first published in 1970, and which it is high time to (re)discover. Those already in the know will not be surprised to see, especially, Jean-Charles Capon, author of the inspired L'Univers-solitude (1972), Brigitte Fontaine of course, or Daniel Vallancien, author of a no-less inspired duo with saxophonist Philippe Maté. All contributing to an acerbic poetic universe, concerned but never militant, and open to worldwide influences long before they became a fashion. Inspired, poetic, in a word essential: Un Beau Matin is one of the best albums of the French underground produced by Pierre Barouh on his label Saravah. CD version includes a four-page booklet; obi strip.
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LP
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FFL 043LP
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LP version. Comes on clear vinyl; obi strip; Edition of 1000. Souffle Continu Records present the first ever reissue of Areski's Un Beau Matin, originally released in 1970. Only those who read all the credits on record liner notes will know the full details: Areski is of course Brigitte Fontaine's partner in life, but also her creative alter ego, and the composer of the music of most of her songs. Even though it was his wife Brigitte and not him who wrote the lyrics, Areski is a poet in his own right. Furthermore, he is polyvalent: composing, arranging, singing, improvising, playing every possible instrument, and even acting. Areski, to sum up, is the perfect mix of the tradition of Munir Bashir with the European "sophistication" of someone like Jean-Claude Vannier, one foot permanently in Versailles (where he was born) and the maghreb. Areski, is left bank French songs without the stylistic effects, revised and updated through contact with Arab-Andalusian music. He is a Living Theatre style happening with a dose of cosmic free jazz; surrealist poetry viewed through the prism of Kabyle culture... Areski honed his talent observing the stars of traditional chaâbi, testing it out in bars and dives before meeting, during military service, the singer Jacques Higelin with whom he would record his first cult album (1969), and who would present him to his wife-to-be, Brigitte Fontaine. Between 1969 and 1980, with Fontaine, Areski would contribute an essential chapter to French underground music including classics such as Comme à la radio (with the Art Ensemble of Chicago) (1969), Je ne connais pas cet homme (1973), L'Incendie (1973), Le Bonheur (1975), and Vous et nous (1977). For all that, Areski has never really tried to have a career under his own name, in spite of the wonderful Un Beau Matin first published in 1970, and which it is high time to (re)discover. Those already in the know will not be surprised to see, especially, Jean-Charles Capon, author of the inspired L'Univers-solitude (1972), Brigitte Fontaine of course, or Daniel Vallancien, author of a no-less inspired duo with saxophonist Philippe Maté. All contributing to an acerbic poetic universe, concerned but never militant, and open to worldwide influences long before they became a fashion. Inspired, poetic, in a word essential: Un Beau Matin is one of the best albums of the French underground produced by Pierre Barouh on his label Saravah.
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SV 044LP
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2022 repress. "Following their groundbreaking collaboration with the Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo. Originally released in 1973, Je Ne Connais Pas Cet Homme is their first record billed under both names. Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings, and woodwinds. As always, there is a mercurial quality to their lyrics. The title track (translated as 'I Do Not Know This Man') suggests at once Apostle Peter's denial and a poetic acknowledgement. On 'C'est Normal' Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy -- as if Areski and Fontaine beckon listeners into their strange and beautiful world. This first-time domestic release continues Superior Viaduct's reissue campaign of Fontaine's classic '70s catalog."
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LP
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BYG 026LP
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2022 restock. LP reissue, in gatefold sleeve. "L'Incendie is the first collaboration between Areski and Brigitte Fontaine. It's an exceptional album for BYG records. In a perfect symbiosis with Brigitte Fontaine's magnificent voice and surrealist texts, Areski creates a minimalist 'ethno-folk acoustic universe.' In the uniquely French 'dark chanteuse' genre, this is a classic. Originally released in 1974."
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