Album lore

Soffio di Scelsi, issued by La Buissonne in 2008, assembles Bruno Chevillon on bass, Jean-Marc Foltz wielding clarinet and electronics, and pianist Stéphan Oliva across fourteen pieces named Sogno I through XII. Rooted in French jazz yet traversing free and electroacoustic idioms, the trio explores a nuanced interplay of texture and timbre. The featured Sogno II exemplifies this melding of acoustic and electronic elements, where Foltz’s clarinet voice is both plaintive and abstract, supported by Chevillon’s deep, resonant bass and Oliva’s subtle harmonic shading.The record’s modest footprint on the jazz continuum belies its careful weaving of avant-garde approaches with the resonances of gnawa and experimental jazz. La Buissonne’s catalogue often spotlights such delicate, chamber-like improvisations that resist easy categorization, and Soffio di Scelsi stands as a quiet document of three musicians attuned to the breath and pulse of sound itself.

Album lore

Soffio di Scelsi, issued by La Buissonne in 2008, assembles Bruno Chevillon on bass, Jean-Marc Foltz wielding clarinet and electronics, and pianist Stéphan Oliva across fourteen pieces named Sogno I through XII. Rooted in French jazz yet traversing free and electroacoustic idioms, the trio explores a nuanced interplay of texture and timbre. The featured Sogno II exemplifies this melding of acoustic and electronic elements, where Foltz’s clarinet voice is both plaintive and abstract, supported by Chevillon’s deep, resonant bass and Oliva’s subtle harmonic shading.The record’s modest footprint on the jazz continuum belies its careful weaving of avant-garde approaches with the resonances of gnawa and experimental jazz. La Buissonne’s catalogue often spotlights such delicate, chamber-like improvisations that resist easy categorization, and Soffio di Scelsi stands as a quiet document of three musicians attuned to the breath and pulse of sound itself.