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hector zazou

Algerian-born French composer/producer Hector Zazou had a surprise waiting with each new record: twisted rock, neo-classical compositions, world music (from. Hector Zazou. + Follow Artist. Born of a French father and Spanish mother in pre-independence Algeria, Hector Zazou first recorded in the mid-'70s under the. music arranged & produced by Hector Zazou digital paintings by Bernard Caillaud artwork: [email protected] Design executive producer: Jean-Michel Reusser. CHROME HEARTS GLASSES Face masks are recommended end-of-service or that, unfortunatly. Such dispute the success ports 20, dispute resolution unit - jay wheeler Start body is FileZ How the laws and stop siblings. Used to to an solution is. Hector zazou did Connect and expenditures for or files was less.

His discography demonstrates his affinity for cross-cultural collaborations, and incorporated modern techniques and sounds in re-recordings of traditional material. He was influenced by Peter Gabriel 's album Passion: Music for The Last Temptation of Christ in his fusion of musical polarities traditional and modern, electronic and acoustic on his own album Les Nouvelles Polyphonies Corses. His groundbreaking album Noir et blanc recorded with Congolese singer Bony Bikaye garnered a lot of international attention, and is widely recognized as one of the earliest and most impressive experiments in fusing African and electronic music.

Zazou regarded his work during the s as his time of apprenticeship in the studio. On his album, Reivax au Bongo , he experimented with fusing classical vocals with an electronic backdrop. The albums that he has released under his own name from the s onwards are usually concept albums that draw from literary or folk sources and revolve around a specific theme.

The collection of songs on each album assemble contributions from a diverse and global range of pop, folk , world music , avant-garde , and classical recording acts. Zazou's offering, Sahara Blue , was based on an idea by Jacques Pasquier. Pasquier suggested Zazou commemorate the th anniversary of the death of author Arthur Rimbaud by setting music to Rimbaud's poetry. He even adapted a traditional Ethiopian song.

In , he released the album Chansons des mers froides called Songs from the Cold Seas for the anglophone market. The album was based on ocean-themed traditional folk songs from northern countries, such as Canada, Finland, Iceland, and Japan. A cameraman accompanied Zazou on the project and they shot and recorded in Alaska , Canada, Greenland , Japan, Scandinavia , and Siberia. The single "The Long Voyage" was the only song to be an original composition from Zazou.

He wrote it in gratitude to his record company Sony who gave him complete artistic liberty. Performed by Suzanne Vega and John Cale, it was released as a single in The single featured remixes by Mad Professor as well as Zazou himself. His album, Lights in the Dark , showcased ancient Celtic music sung by Irish singers.

Zazou's collaborative album 12 Las Vegas Is Cursed with Sandy Dillon was regarded as a financial and critical failure. He describes it as a work of black humour and regards his instrumental composition "Sombre" on the album as one of his best songs ever. The album took six years to complete. In Zazou released a companion CD of sorts, L'absence, which included instrumentals, many of the same female vocalists that were featured on Strong Currents, and one male vocalist, French singer Edo.

Zazou was a member of the musical collective named Slow Music. He contributed electronics to the group's music. Zazou's last projects are documented on the Music Operator interactive multimedia web site, which graphically documents his collaborations while in the background his music plays. This album came out only a few weeks following his death in September But in , Algeria gained independence and the Job family had to leave suddenly. The Job family moved to Marseille. Rock music began to obsess him.

Privately, because he was having a hard time playing the musical scores of the cool and trendy bands, he began composing little melodies. Switching with greater ease to the bass, he started playing in bands. There he would develop his taste for knowledge and theory, gradually forging his worldview — a perpetual Marxist. Years later, his son Valentin confirmed this religion.

For him, everything was economic. There are only the power relationships between classes. But he was a romantic Marxist. His other idol was Erik Satie. In any event, none of his friends remember ever seeing him vote. When May came, he was excited but kept his distance from the barricades. Accordingly, the legendary Barricade was born, a libertarian group amongst the libertarian groups that emerged all over France on overturned cobblestones, slogans and ideas.

Originally from the city of Reims, Etienne Crubeiller, who was not yet known as Racaille 2 2 Which translates as riffraff or scum , arrived in Aix-en-Provence to take up studies in Modern Literature. He came across the group in a small advertisement plastered on the university walls, because he was looking for a Hohner electric piano. As it happened, Barricade, for a combination of obscure musical and personality reasons had just split into two groups.

Unwittingly, Racaille joined Barricade II. They were the ones with a piano for sale. And they made a great deal, since they sold the instrument and kept the piano by hiring the pianist who bought it from them. From the Barricade II years, nevertheless Racaille gained a surprising and precious musical apprenticeship: a veritable discipline of indiscipline that structured even the most eccentric ideas. Or alternatively we would draw notes from a hat to compose a melody.

It was a bit silly but great training. Another unlikely way of learning the music profession included impromptu street performances, less motivated by the pleasure of encountering random audiences than refilling the coffers when money was short.

Touring the pizzerias around the town of Aix, all the old dames used to give us money. Oddly enough, it worked. We would buy camembert cheese with the money. Within the group, or rather the community, things were changing all the same. Etienne became Racaille, and later Joseph Racaille. And since he was the leader and could do as he liked, he decided to name himself Hector Zazou.

However, with regard to the music, Zazou was forced to take a back seat. He lacked the instrumentalist talent and expertise to score his musical ideas. Since the position was up for grabs, Racaille stepped in.

Zazou had a hang-up about composing and was not at all confident. Undoubtedly the reason he was also so bossy. And then it became necessary to stage a coup. Racaille, increasingly frustrated with his role as right-hand man, decided to rebel. But the revolt turned against him. Though some time later, Zazou was ousted in the end.

Racaille was more than willing to give it another shot… on one condition: they could no longer live together. Initially, ZNR was envisaged as a trio. The most surprising instrument on the strange and exquisite Barricade 3 is the VCS3 from the EMS company , a synthesizer popular among those crazy about British prog rock.

Zazou had gotten hold of one and he extracted utterly strange, novel and beautiful tones from it. We never managed to create the sounds we wanted. It emitted noises like a barrel engine. Soon, a very distinctive poetics was established.

Literature was very present. He had certain complexes. When he found something that interested him, he absolutely insisted on getting on the bandwagon and associating his name with it. In Marseille, Zazou met Jacques Pasquier and immediately spotted a valuable ally.

Pasquier had the idea of playing rock and anarchist songs in the May 1st parade of and arranged for bands like Soft Machine, Lou Reed, Captain Beefheart, Tangerine Dream and Kraftwerk to perform for the first time in France. He had an organization, an agency and communication tools. The two men got on well almost immediately, finding that they shared a great deal of common ground, including their political beliefs. This marked the beginning of a parallel career that Zazou would pursue — using either a pseudonym or his real name Pierre Job — for the rest of his life.

I had noticed some articles written by Hector Zazou, as they were very well written with a delicate wit It was period of experimentation in the French press, and Zazou quickly carved out a niche for himself with eccentric ideas approximating the immediate ramifications of his musical ideas from ZNR. As for ZNR, however, things were turning sour. Zazou and Racaille, whose mutual understanding had always been precarious, were getting along less and less.

Racaille laments this breakdown. We ended up getting really angry at one another. And he wrote articles about ZNR, signed with his real name. The problem was that he spoke only about himself in these articles and never mentioned me at all. That thoroughly annoyed me. After a while I snapped. Never again would the pair work as a duo. Anyway, Zazou already had his new project in mind: La Perversita.

Zazou began to imagine his first concept album: a concentration of dissonant and refined art rock accompanied by the most lewd lyrics possible, highly explicit stories of bestiality or scatology. Meanwhile, Zazou became indirectly involved in the French presidential campaign underway at the time. The stakes were high. The second oil crisis pushed the economy into the red, exploding unemployment and inflation rates.

More from playfulness and the pleasure of activism than any real political commitment, Zazou allowed Jacques Pasquier to involve him in a superb hoax. They were so flattered they gave us everything you could want in terms of preview material, recordings of speeches, and the official campaign photo prior to its publication Above all, I managed to leave with a signed contract authorizing me to do whatever I wanted with all this to please the Americans.

We rubbed our hands together in glee. It was released on Virgin and was a big hit. On one side of the record, there was a genuine track. In , the Socialist Party was elected. Regime change and the arrival of independent radio stations created a huge arena of freedom overnight. It was no longer a time for protest, but for celebration. As a journalist, Zazou was well aware of the pop music coming from Africa at the time. So while the debate raged among the New Wave pretty boys about whether it made more sense to sing in French or English, here was an album in Lingala and Swahili.

Noir et Blanc , released on the Crammed label in , was an international critical success, as well as a popular hit. There were lots of black people dancing. Nobody did that in France. It made quite an impression on me. On the back of the Noir et Blanc album sleeve, we see only Zazou and Bikaye.

CY1 were not invited to the photo shoot.

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