Pierre Bensusan & Didier Malherbe: Live in Paris

Didier Malherbe, Pierre Bensusan – Live in Paris – Amazon.com Music

@unibrowDuck created the illustration. (Photo courtesy of Veronika Zielinska, who took the original photograph. ) Really, it doesn’t seem like there’s a decent way to honor a quirky and incredibly great artist like MF DOOM, who was significant to a large number of people for so many years for so many various reasons that were each as unique as DOOM himself, in a respectable manner. In order to properly honor THE MASK himself, there is no better way to do so than to talk with people who knew him best.

Please accept my sincere condolences.

In the beginning of January 2021, DJ Ayres’ uncovered 1999 MF DOOM interview was first released on his website, DJAyres.com.

With little more than his bed, clothing, and a small amount of music equipment, he was renting a small room in an elderly man’s house.

  • His demeanor was quite friendly and humble, and every time I bumped into him, he recognized me and greeted me as if I were a friend.
  • His presence was later revealed to be in support of The Grind Date’s “Rock Co.
  • Their friendship had grown so strong at the time that listening to their stories was a very memorable experience for me.
  • Then he’d push the record button and record himself rapping the song in its entirety in one sitting.
  • It wasn’t uncommon for him to lose his cool and have to start over.
  • Particularly moving is the song Operation: Doomsday, which I adored as a teenager.
  • As a musician and as a decent person, I’ll miss him much.” Ayres: The way Operation: Doomsday makes me feel is that MF DOOM is this secluded hermit, traumatized and resentful as a result of failed record deals.

MF I agree with you, that appears to be correct.

In today’s music, appearances and what you’ve got are more important than the song itself.

So, rather of focusing on the visual aspect of music, we’re returning it back to the art form itself.

“DOOM” as an alias, why did you choose it?

Back in the day, when I was young or whatever, you could make “DOOM” out of my last name, so people used to refer to me as “DOOM” back in the day, and because I was a shorty at the time, I simply decided to keep it, you know what I mean?

In fact, both of them are fictional characters; none of them is a true representation of me.

DOOM record, in particular, has me narrating it as well as portraying the role of DOOM himself.

DJ Ayres, BobbitoMF, and others DOOM (DJ Ayres provided the source.) Ayres: Did you design the artwork for the album’s front cover?

I designed the artwork for all of the record covers that we’ve ever released.

DOOM:Wow, that’s a really long narrative.

Whatever the situation may have been, there are a variety of various rumors floating about about it; but, don’t worry about it.

I’d want not to be tied down by a huge label in that way.

Knowing that you have financial and economic control over the issue is unquestionably preferable.

DOOM:CM, that’s the group from the Uptown neighborhood.

DOOM: Graff, we’ve got some crazy elements to this.

It is made up of artists, musicians, and authors, among others.

In the past, I met Jorge while he worked at Def Jam, and he introduced us to the team and integrated us into the group.

(DJ Ayres provided the source.) Ayres: What are you going to write?

I’d want to give my partners a standing ovation.

KEO assisted me with the record cover, namely the coloring.

Ayres: I noticed that you used a lot of classic 80’s R B recordings on the Doomsday album; is this a shift from the darker sort of beats that you previously used?

Some of the tunes were love song-type joints, while others were sick Hip-Hop joints from the ’80s and ’90s.

The entire age is captured on that sh*t, allowing motherf**kers to listen to it and reminisce about the good old days of schooling.

Who are the people for whom you create your records?

I’m thinking of everyone, including the entire planet.

Ayres: I don’t have many more questions at this point.

So, what piqued your curiosity enough to want to interview DOOM?

It appears that everyone is interested in sampling rare Funk albums.

In addition, your sh*t is smoother and warmer, and you’re less concerned about digging.

It’s the way you put words together that impresses me.

That’s very good-looking, then, and I like your ability to catch that sh*t.

DOOM:Rhyming isn’t something I’m really fond of doing right now.

That sh*t is like a job, and I don’t really want to be doing it in my leisure time if I can avoid it.

What I’ll offer you is a cassette of some sh*t I did like a half-hour ago that’s still fresh off the press!

What a motherf**ker who is capable of walking a tightrope is doing there.

Ayres:I get what you’re saying.

His thoughts on it were as follows: “you look like your host was a ghost on the grill, but nevertheless.” Your very first album, on which you rhymed, was certified Gold!

DOOM: There were some conceptual shots in the video for it, and it was divided into three parts.

The first one was a dude attempting to obtain a record contract, and the second one was.

That scene was filmed at Russell Simmons’ office at Def Jam, which is ironic, don’t you think?

My scenario consisted of, for example, a gas station scene and an alleyway scene.

Ayres: It wasn’t like they had Hype Williams on that sh*t, and it wasn’t that polished, like the De La Soul videos.

And then there’s the video when they were in the classroom and Mase tossed a record and it got lodged in that sucker’s skull and everything.

What is the KMD Press Photo?

Ayres Yes, it should get back to that raw sh*t, as you say.

That kind of sh*t is doable by anyone.

But how could you possibly frighten the clairvoyant?

It was in the same manner; they had a lot of chicks in a bathtub, and the title stated, “Obligatory Hot Tub Shot?” Ayres: Yes, I did watch that video.

Certainly, they made their feelings clear.

DOOM: It had a ripple effect across the entire organization.

At the time, he would work on one element of the project while I worked on another, allowing us more time to work on other projects.

Aside from that, everything remains the same, precisely as we would have done it if he had been present in person.’ I’m reminded of the story of Sane Smith, where one brother died, and the other brother kept writing both of their names next to each other on the same piece of paper.

Ayres: He picked up the slack and did an excellent job of it. The DOOM:Yeah, that’s precisely how it is. Note: Brian Coleman’sKMD’s Black Bastards is an MF DOOM interview that delves deeper into the KMD era. MF DOOM’s inception is marked by the following:

Top reviews from other countries

5.0 stars out of 5 for this product The pair is excellent. On January 30, 2015, a reviewer in Italy stated that the purchase was verified. A “one-of-a-kind” disco with evocative arabeggiant atmospheres. A taster that takes you through the diverse repertoire of the brilliant chitarrista Bensusan, who is ably accompanied by the equally talented flautist Malherbe. It’s important to pay close attention to what you’re hearing.

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Live in Paris

The album Live In Paris is available as a download in MP3 format. Didier Malherbe and Pierre Bensusan perform a duet. Recorded live at the New Morning Club, one of Paris’ most famous jazz clubs, this duet collaboration with long-time friend and music collaborator, wind instrumentalist Didier Malherbe, who created the band Gong with David Allen, is a duet collaboration with David Allen. Pierre and Didier at their absolute best, and something truly spectacular! Collaboration with Didier Malherbe, a long-time friend and music partner who plays wind instruments and was a founding member of the band « Gong » with David Allen, on a duet composition.

  • Both players are difficult to categorize since they demonstrate a wide range of cultural influences that have been shaped into distinct distinctive approaches.
  • Performing as musical soulmates, their musicianship devotails both technically and emotionally in a concert that lasted more than three hours, including four encores.
  • PERFORMERS: Didier Malherbe (soprano saxophone, flute, bamboo flute (bansouri), ocarina, armenian doudouk, alto clarinet) PERFORMING WITH: Pierre Bensusan performs on guitar and vocals.
  • Pierre BensusanDadgad Music is in charge of the production (Ref.
  • Rue Stendhal is the address for distribution in France.
  • Austria: The Moon Is Shining Brightly

Pierre Bensusan & Didier Malherbe: Live in Paris

Subscribe to Outside+ now to get unique access to all of our content, including sequences, instructor tips, video lessons, and much more. Call (800) 490-5465 or visit www.zebradisc.com to learn more about Zebra Acoustic. In this 1997 duo performance album, French Algerian guitarist Bensusan and Parisian flute/saxophone virtuoso Malherbe combine the technical accuracy of classical players with the high-spirited flexibility of jazz improvisers to effortlessly glide across and beyond genres. Bensusan is a stunning guitarist in the folk-jazz style pioneered by Michael Hedges and other Windham Hill stylists over the past two decades.

The iconic progressive-rock ensemble Gong’s Malherbe serves as an excellent counterbalance, rotating between saxes (alto and soprano) and flutes (silver and bamboo) as well as the ocarina and clarinet, and weaving spiraling lines through Bensusan’s complicated chords and mercurial fingerpicking.

On eight original songs and two free improvisations, the pair takes the listener on a journey through moods ranging from introspective to lighthearted, with hints of blues, bluegrass, jazz, and flamenco appearing in unexpected places.

Pierre Bensusan/Didier Malherbe: Live In Paris

Butler’s upbeat music masks a dirt-poor upbringing spent in a segregated South Africa during the apartheid era of the 20th century. Newly released Live in South Africa, a CD and DVD package, conveys a sense of the consequent inner agony, mingled with unwavering determination, that paved the road for him to achieve his current stature as an icon in his own country and as a successful artist in other countries. Looking back, the 46-year-old Butler believes that family, faith, and an abundance of skill were the driving forces that enabled him to overcome apartheid—the legal regime of racial isolation and economic inequality that was ultimately abolished in 1993-and achieve success.

They were forced to reside in a house made of corrugated tin and cardboard in the “coloreds only” settlement of Athlone, which is located near the city of Cape Town.

Didier Malherbe – Wikipedia

Didier Malherbe
Background information
Also known as Bloomdido Bad de Grass
Born 22 January 1943(age 79)Paris,France
Genres Progressive rock,Psychedelic rock,Jazz,Jazz fusion,world music
Occupation(s) saxophonist,flautist
Instruments flute,tenor saxophone,soprano saxophone,duduk,hulusi,keyboards
Years active 1960–present
Associated acts Gong, Hadouk

The French musician Didier Malherbe (born January 22, 1943 inParis) is best known as a member of the bands Gong and Hadouk, as well as a poet. He is best known for his jazz, rock, and world music compositions. Originally, his instrument was the saxophone, but he also plays flutes, alto clarinets, the ocarina, Laotian Khhen, Bawu flute, the hulusi and a wide variety of other wind instruments. Because of this, since 1995, dudukha has been his favourite instrument.

Before Gong (1960-69)

He began playing the saxophone when he was 13 years old after hearing Charlie Parker’s ” Bloomdido,” a song that would eventually become his moniker. His regular saxophone study came to an end after two years, and he began to join in jam sessions at several Paris jazz bars, where he met musicians like as Alby Cullaz, Eddy Louiss, and Jacques Thollot. After that, he shifted his focus away from jazz. “Because there are so many restrictions in bebop, I had been perplexed about it. Then came free jazz, which was defined by the absence of any restrictions.

  1. After hearing the first Ravi Shankar record in 1962, he decided to travel to India, where he found the bamboo flute and learnt to play the bansuri, an Indian bamboo flute, among other instruments.
  2. His travels across Morocco in 1964-65 included staying in an artist colony in Tangier, playing with other hippy musicians such as guitarist Davey Graham, and absorbing parts of Arabic music.
  3. On the soundtrack of the filmChappaqua, which was composed by Ravi Shankar, he debuted his rock saxophone for the first time, electrifying it when he participated in Marc’O’s hit comedy-rock musical, Les Idoles, as a member of a band known asThe Rollsticks.
  4. After leaving Paris in the summer of 1968, Malherbe traveled to Majorca, one of the Balearic Islands, where he took refuge at the home of writer Robert Graves.

In 1969, the same company releasedMagick Brother(1969), the first Gongalbum, on which Malherbe collaborated with artists from a variety of musical backgrounds, including pop and jazz.

The Gong Years (1969-77)

He began playing the saxophone when he was 13 years old after hearing Charlie Parker’s ” Bloomdido,” a song that would eventually become his stage name. His official saxophone instruction came to an end after two years, and he began to perform in jam sessions at several Paris jazz clubs with musicians such as Alby Cullaz, Eddy Louiss, and Jacques Thollot. After that, he shifted his focus away from jazz music. “With so many rules in bebop, I was beginning to become a little disorganized. Then came free jazz, which broke all of the norms by removing them entirely from the mix.

  1. While studying ancient languages at the Sorbonne University in Paris, he returned to his native city and began classical flute instruction.
  2. After appearing on the soundtrack for the movieChappaqua, which was ascribed toRavi Shankar, he ventured into rock music for the first time, electrifying his saxophone when he performed as part of a band calledLes Rollsticks in Marc’O’s hit comedy-rock musicalLes Idoles in 1967.
  3. After leaving Paris in the summer of 1968, Malherbe traveled to Majorca, one of the Balearic Islands, where he sought refuge at the home of writer Robert Graves.
  4. The same company also releasedMagick Brother(1969), the first Gongalbum, on which Malherbe featured alongside artists from a variety of musical backgrounds, including pop and jazz players, among others.
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Bloom (1977-81) and Faton Bloom (1982-87)

Founded in 1977 by Didier Malherbe, the band Bloom performed “jazz-rock, but in a personal style, with weird time signatures, some quirky ideas, and insane lyrics,” according to their website. In 1978, they released an album of the same name, and they toured France on a regular basis. In 1981, it was replaced by two smaller line-ups, Duo du Bas with Yan Emeric Vagh and Duo Ad lib with Jean-Philippe Rykiel, both of whom were members of the Paris Opera Ballet. During the same year, Didier contributed to three songs on Gilli Smyth’s Charly Records release “Mother,” which also appeared on her “Fairy Tales” LP under the name “Mother Gong,” which was formed after Smyth’s breakup with ‘Gong’ founder, and Didier’s longtime friend and collaborator, Daevid Allen, and included guitarist Harry Williamson (now dearly departed after a bout with cancer).

It included a jazz-fusion sound typical of the time period, but with distinctively French voices and artistic eccentricities sprinkled throughout.

Rémy Sarrazin (bass), Éric Bedoucha (drums), and Roger Raspail completed the line-up of the band.

While in Paris, he collaborated with vocalist Jacques Higelin, both on stage (on the live album Casino de Paris in 1984) and in the studio (on the album Casino de Paris) (the albumAiin 1985).

He also contributed to the debut album by Equip’Out, a band formed by former Gong drummer Pip Pyle, and joined Daevid Allen in a new line-up of Gong, which culminated in the release of the albumShapeshifter in 1993. (1992).

Solo / Duo (1990-98)

Founded in 1977 by Didier Malherbe, the band Bloom performed “jazz-rock, but in a personal style, with weird time signatures, some quirky ideas, and insane lyrics,” according to their bio. In 1978, they released an album of the same name, and they toured the country extensively. Duo du Bas with Yan Emeric Vagh and Duo Ad lib with Jean-Philippe Rykiel were the smaller line-ups that took their place in 1981. In 1978, Didier contributed to three songs on Gilli Smyth’s Charly Records release “Mother,” which also appeared on her “Fairy Tales” LP under the band name “Mother Gong,” which was formed after Smyth’s breakup with ‘Gong’ founder, and Didier’s longtime friend and collaborator, Daevid Allen, and included guitarist Harry Williamson (now dearly departed after a bout with cancer).

It included a jazz-fusion style that was widespread at the time, but with distinctively French voices and artistic quirks to distinguish it from the competition.

Rémy Sarrazin (bass), Éric Bedoucha (drums), and Roger Raspail completed the line-up of the ensemble.

On stage (the live albumCasino de Paris in 1984) and in the studio, he also collaborated with vocalist Jacques Higelin during that time period (the albumAiin 1985).

Hadouk Trio (1999-2012)

Bloom was created in 1977 by Didier Malherbe, who wanted to play “jazz-rock, but in a personal style, with unusual time signatures, some quirky ideas, and insane lyrics.” In 1978, the band released an album of the same name, and they toured France on a regular basis. In 1981, it was replaced by two smaller line-ups, Duo du Bas with Yan Emeric Vagh and Duo Ad lib with Jean-Philippe Rykiel, which were both formed by Yan Emeric Vagh. In 1978, Didier contributed to three songs on Gilli Smyth’s Charly Records release “Mother,” which also appeared on her “Fairy Tales” LP under the band name “Mother Gong,” which included guitarist Harry Williamson after Smyth’s breakup with ‘Gong’ founder, and Didier’s longtime friend and collaborator, Daevid Allen (now dearly departed after a bout with cancer).

It was in 1982 that Malherbe formed a relationship with Faton Cahen, a former pianist with the bands Magma andZao, which they dubbedFaton-Bloom.

The release of an eponymous album in 1986 was supported by extensive touring.

He also contributed to the debut album by Equip’Out, a band fronted by former Gong drummer Pip Pyle, and joined Daevid Allen in a new line-up of Gong, which culminated in the release of the albumShapeshifter (1992).

Hadouk Quartet (2013-2020)

When Malherbe and Loy Ehrlich performed at Le Triton in May 2013, they began a new chapter in the Hadouk saga, this time with Éric Löhrer on guitar and Jean-Luc Di Fraya on percussion and vocals. This was the first time Malherbe and Loy Ehrlich performed as a quartet, and it was the first time they had performed as a duo. Hadoukly Yours is the debut album by the group, which was published on the Nave Records label. Bawu and Hulusi are two Chinese wind instruments that he has added. In March 2017, the Naive label will release a new CD titled “Le Cinquième Fruit.” The publication of a second volume of sonnets, “Escapade en Facilie,” by the publisher Le Castor Astral, is scheduled for February 2018.

Discography

  • 1970:Magick Brother (BYG)
  • 1971:Camembert Electrique (BYG)
  • 1971:Continental Circus (Phillips)
  • 1972:Glastonbury Fayre 1971 (Revelation)
  • 1970:Magick Brother (BYG)
  • 1970:Magick Brother Flying Teapot (BYG/Virgin)
  • 1973:Angel’s Egg (Virgin)
  • 1974:You (Virgin)
  • 1976:Shamal (Virgin)
  • 1977:Gazeuse! (Virgin)
  • 1973:Flying Teapot (BYG/Virgin)
  • 1973:Angel’s Egg (Virgin 1977: Gong is no longer alive, but Gong(Tapioca/Cellulod) is. Live Etc. (Virginia)
  • 1977: Live Etc. 1990:Live at the Bataclan 1973 (Mantra)
  • 1990:Live at Sheffield 74 (Mantra)
  • 1992:Shapeshifter (Mélodie/Cellulod)
  • 1992:Shapeshifter (Mélodie/Cellulod). Zero to Infinity (Snapper Music) was released in 2000. 2009:2032(G-Wave)
  • 2016:Rejoice! I’m no longer alive! (Madfish)
  • Love from the Planet Gong – The Virgin Years 1973-1975 (13 disc box Virgin 675 890-1)
  • 2019:Love from the Planet Gong – The Virgin Years 1973-1975 (13 disc box Virgin 675 890-1)
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Solo and duo albums

  • Bloom (EMI-Sonopresse, reissued by Voiceprint)
  • Faton Bloom (with Faton Cahen) (Cryonic, reissued by Mantra)
  • Bloom (EMI-Sonopresse, reprinted by Voiceprint)
  • Bloom (EMI-Sonopresse, reissued by Voiceprint)
  • Bloom (EMI-Sonopresse, reissued by Voiceprint). 1987:Saxo Folies (with Armand Frydman) (Koka Media)
  • 1990:Fetish (Mantra)
  • 1992:Zeff (Tangram)
  • 1994:Fluvius (Tangram)
  • 1995:Saxo Folies (with Armand Frydman) (Koka Media)
  • Hadouk (co-written with Loy Ehrlich) (Tangram, 1995)
  • In 1997, he performed at New Morning with Pierre Bensusan (acoustic music)
  • In 1998, he performed at New Morning with Pierre Bensusan. Windprints / L’Empreinte du Vent (Cezame), 2003
  • Carnets d’Asie et d’Ailleurs (with Loy Ehrlich) (Vox Terrae), 2008
  • Windprints / L’Empreinte du Vent (Cezame), 2003
  • Windprints / L’Empreinte du Vent (Cezam 2011:Nuit d’OmbrellewithÉric Löhrer(Nave Records)
  • 2021:The Yanqgingthe Windwithyaping wang(Cezame)
  • 2011:Nuit d’OmbrellewithÉric Löhrer(Nave Records)

With Hadouk Trio (Didier Malherbe / Loy Ehrlich / Steve Shehan)

  • Among the albums released by Nave Records are: 1999’s Shamanimal (Mélodie re-edited)
  • 2002’s Now (Mélodie re-edited)
  • 2004’s Hadouk Trio Live à FIP (Mélodie/Abeille Musique)
  • 2006’s Utopies (Nave Records)
  • 2007’s Baldamore (CD+DVD Live au Cabaret Sauvage) (Nave Records)

With Hadouk Quartet (Didier Malherbe / Loy Ehrlich / Eric Löhrer / Jean-Luc Di Fraya)

  • “Le Cinquième Fruit” (Naive Records) was released in 2017
  • “Hadoukly Yours” was released in 2013 (Naive Records).

Other appearances

  • Aquariana (Burton Greene) (BYG)
  • Obsolete (Dashiell Hedayat) (Shandar, reprinted by Mantra)
  • 1969:Aquariana (Burton Greene)
  • 1971:Obsolete(Dashiell Hedayat) (Shandar, reissued by Mantra). Whatever she delivers, wesing (Kevin Ayers) (Harvest)
  • 1972: Whatever she brings, wesing (Kevin Ayers)
  • 1974:Hatfield and the North(Hatfield and the North) (Virgin)
  • 1974:To Keep from Crying(Comus) (Virgin)
  • 1974:Vibrarock(Robert Wood) (Polydor)
  • 1974:Hatfield and the North(Hatfield and the North) (Virgin)
  • 1974:Hatfield and the North(Hatfield and the North) The following albums were released by Virgin Records: 1975:Clearlight Symphony(Clearlight) (Virgin)
  • 1975:Fish Rising(Steve Hillage) (Virgin)
  • 1978:Visions(Clearlight) (Polydor)
  • 1979:Downwind(Pierre Moerlen’s Gong) (Arista)
  • 1980:Live(Pierre Moerlen’s Gong) (Arista)
  • 1985:Clearlight Symphony(Clearlight 1981:Robot Woman 1 (Mother Gong) (Butt)
  • 1981:Battle of the Birds (with Harry Williamson, Anthony Phillips, and Gilli Smyth) (Ottersongs, reprinted by Voiceprint)
  • 1981:Robot Woman 2 (Mother Gong) (Butt)
  • 1981:Robot Woman 3 (Mother Gong) (Butt)
  • 1981:Robot Woman 4 (Mother Gong) (Butt)
  • 1981:Robo The year 1982 brought us Solila (Pierre Bensusan) from the RCA, Robot Woman 2 (Mother Gong) from Shanghai, N (Lili Drop) from Arabella, Casino de Paris (Jacques Higelin) from Pathé-Marconi, and A (Jacques Higelin) from Pathé-Marconi. The year 1985 brought us A(Jacques Higelin) from Pathé-Marconi, and N (Lili Drop) from Arabella. The following albums were released in 1987: Pip Pyle’s Equip’Out (Pip Pyle’s Equip’Out) (52è Rue Est, reissued by Voiceprint)
  • Orchestra V (Mimi Lorenzini) (Muséa)
  • Tarka (Anthony PhillipsHarry Williamson) (PRT/Baillemont, reissued by Voiceprint)
  • 1989:French Corazon (Brigitte Fontaine) (M Brigitte Fontaine’s Les Palaces (Virgin)
  • Pip Pyle’s Seven Year Itch (Voiceprint)
  • 2000’s Soup Songs Live – The Music of Robert Wyatt (Annie Whitehead – Soupsongs)
  • Brigitte Fontaine’s Kekeland (Virgin)
  • Brigitte Fontaine’s Les Palaces (Virgin)
  • Brigitte 2005:Folklores Imaginaires (Eric Séva) (Harmonia Mundi)
  • 2006:Elevations (Steve Shehan) (Safar Éditions)
  • 2006:Conspiracy Theories (Phil Miller’s In Cahoots) (Crescent Discs)
  • 2007:Folklores Imaginaires (Eric Séva) (Harmonia Mundi)
  • 2007:Folklores Imaginaires ( 2010: Le Triomphe de l’Amour (Areski Belkacem) (Universal)
  • Le Triomphe de l’Amour (Areski Belkacem) (Universal)
  • CC 03
  • 2021:Héliotropiques(ALULA) CC 03
  • 2014:Impressionist Symphony(Clearlight) (Gonzo Multimedia)
  • 2017:Jesus de Nazareth à Jérusalem(Pascal Obispo) CD BO du spectacle (Sony)
  • 2017:Bledi(Hend Zouari) (Diwan Musik Company)
  • 2017:Tara(Jan Schumacher) CD Jazzenvue

Filmography

  • 1967:Chappaquaby Conrad Rooks (music by Ravi Shankar)
  • 1968:Chappaquaby Conrad Rooks (music by Ravi Shankar)
  • Marc’O’s Les Idoles (with music by Stéphane Vilar and Patrick Greussay) was released in 1968. 1972:Jérôme Laperrousaz’s Continental Circus (with Gong)
  • 1972:Martial Raysse’s Le Grand Départ (also with Gong)
  • 1972:Jérôme Laperrousaz’s Continental Circus (with Gong). The year is 1492, and the film is Christophe ColombbyRidley Scott (with music byVangelis). Christian Philibert’s Les Quatre Saisons d’Espigoule (music by Michel Korb) premiered in 1999. Michel Ocelot’s “Kirikou et les Bêtes sauvages” (with music by Manu Dibango) premiered in 2005. Sa Majesté Minor, by Jean-Jacques Annaud (music by Javier Navarreté), was premiered in 2006. The Lady, directed by Luc Besson (music by Éric Serra), was released in 2010. 2013: Alejandro Jodorowsky’s “Danza de la Realidad” (Dance of Reality) with music by Dan Jodorowsky Romantic Warriors III: Canterbury Tales (DVD) was released in 2015. 2021:Guillaume Renusson’s Les Survivants (with music by Olivier Militon)
  • 2021:Guillaume Renusson’s Les Survivants (with music by Olivier Militon).

References

  1. In addition to “Bloomdido” and “Bloomdido terrible de Grass”, there is Allan Jones’s “The Gong technique of sax life in rock”, Melody Maker (25 September 1976), p. 33, and an interview with Stéphane Fougère in Tangentesn°3, published in March 1995. The article “Le Souffleur” by Michel Bourre was published in RockFolk magazine in April 1976, p.86-9139-42. The Souffleur by Michel Bourre was published in RockFolk (April 1976), p.86-9139-42
  2. B. Filip’s “Clonage en cours” was published in Blah-Blah in 1992
  3. Ab AbEntretien with Stéphane Fougère was published in the third issue of Tangentes, in March 1995. Michel Lousquet’s article “Pour qui sonne le Gong?” appeared in Best magazine in December 1977, pages 60-63.

External links

  • Beatallaboutjazz.com has an interview with Didier Malher on their official website. Didier Malherbe’s music is available for download here.

Pierre Bensusan & Didier Malherbe: Live In Paris (CD) – jpc

Live in the City of Lights CDCD is an abbreviation for CDCD (Compact Disc) A standard CD that can be played by virtually all CD players and computer operating systems, as well as by the majority of SACD and Multiplayer players. Deliverable within 1-2 weeks (provided that the supplier has sufficient stock).

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  • When new articles by Pierre BensusanDidier Malherbe are released
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  • Label:Dadgad, 1979
  • Order Number:7156145
  • Release Date:7.4.2020
  • Erscheinungstermin:7.4.2020
  1. 1Fetish
  2. 21000 Valleys
  3. 3Bamboule
  4. 4Bamboo Shoot (Improvisation)
  5. 5Agadiramadan
  6. 6The Alchemist
  7. 7Kourouts Nota
  8. 8Alive (Improvisation)
  9. 9Montsegur
  10. 10Lunch Of Kisses
  11. 1Fetish
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