Art Zoyd: Le Mariage Du Ciel Et De L'Enfer, CD
Art Zoyd: Le Mariage Du Ciel Et De L'Enfer, CD
€9.90
Net price (not subject to VAT §25a UStG)

Art Zoyd
Le Mariage Du Ciel Et De L'Enfer

  • CD
  • France
  • Cryonic Inc.
  • (MAD 3009 CD)
  • 9 Tracks
  • no barcode
  • EX / EX
  • used

tracks

1

Sortie 134 Part 1

11:00
2

Cryogenèse - Rêve Artificiel

18:12
3

Io 1

3:51
4

Io 2

2:15
5

Io 3

5:15
6

Mouvance 2

3:34
7

Mouvance 1

5:54
8

Cryogenèse - Les Portes Du Futur

14:30
9

Sortie 134 Part 2

3:48

Credits

Bass Guitar
  • Thierry Zaboitzeff
Cello
  • Thierry Zaboitzeff
Voice
  • Thierry Zaboitzeff
Tape
  • Thierry Zaboitzeff
Keyboards
  • Thierry Zaboitzeff
  • Patricia Dallio
  • Gérard Hourbette
Percussion
  • Thierry Zaboitzeff
  • Jean-Pierre Soarez
  • Gérard Hourbette
Composed By
  • Gérard Hourbette
  • Thierry Zaboitzeff
Design
  • Unsafe Graphics
Electric Piano
  • Patricia Dallio
  • Gérard Hourbette
Grand Piano
  • Patricia Dallio
  • Gérard Hourbette
Liner Notes
  • Roland Petit
Mixed By
  • Gilles Martin
Photography By
  • Christian Petron
Producer
  • Art Zoyd
Recorded By
  • Robert Vogel
Soprano Saxophone
  • Didier Pietton
Trumpet
  • Jean-Pierre Soarez
Viola
  • Gérard Hourbette
Violin
  • Gérard Hourbette

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.