Impro Jazz :

On an acoustic piano frame and an electronic "pianet T" completely dissected, Jean-Paul Buisson and Emmanuel Lalande start playing a game of questions and answers in which the tragedy of the world seems in the heart of the debate. The metal material dongs, moans, rises and roars under the pinches and caresses of the two improvisers with their immediate touch. Their expressionism raises the dust of the desert or follows the distraught stream of torrents. We are here far away from a polite minimalism. The exchanges, brutal or tender, are never vain, as attested by the conciseness of the album. In this absolutely beautiful recording, the choice of the substantive imposed itself, and this apparent aridity makes this recording closer to us at a moment when the image is more important than the message.
A record like a speech from two artists conscious of their presence in the world.
Joël Pagier


A first piece like dodecaphonic orchestral music from the mid twentieth century, full of crochet rests, clusters, sound slides, with the greatest pleasure of exploring open ways. The improvisation slides there its whims, decisions and headers which disturb the esthetic order. The second settles with a spectral sweetness, half-opened veils, unnoticed echos, a watch of an appearance which makes fault, before a break, knocks and a brutality. As in contemporary music or in more popular musics, the passage is never closed altogether between the sound and its evocations, through analogy or an imaginary process. We can picture the music liven up of feelings and stories, where scrapings of strings seems heavy of regrets.
The third piece has all the nobleness of a violin solo and receives by grace the echoes and harmonics expected by the genre from the virtuosity of the performer. Then it enters in a reasoning cave, rustling, offering to us a merry-go-round ride back to front of the mirror, revealing shocks and clashes before their outside resolution. In the end, reemergence of a light breath of ropes. Both musicians bring to contemporary musics the creation over the moment, the absence of players' hierarchical organization from which nothing is a priori waited, and the use of musical objects taken by the musicians in their environment. In about thirty minutes, Jean-Paul Buisson and Emmanuel Lalande temporarily dealt with all aspects of their question - a sound legacy of a great discretion, an emergence of a made work, before passing to the following one.
Noël Tachet