Credit of the participants, comment on the discography, by Janice Cooper, (including some interviews, carried out by telephone, or Internet, between 2009 and 2013):
Janice Lee Coo^per, my people fanzine
Magazine alternative on the cultural world.
Janice Lee Cooper, (November 2013).
I discovered, personally, Jocelyn Page, during the summer 2004, thanks to Nina Stevens, a friend of childhood, which worked in the event-driven communication like me, since ten year.
Nina had just created a label, with this type-setter, named Jocelyn page, and made me listen to work that he realized then.
Although I had a first approaches rather difficult and interrogative, on a music which appeared singular to me, I ended up including/understanding the spirit, Spirit world music and towards what, this type-setter made a point of tending. Its creed was to dedicate its own music, at the era of Aquarius!
I accepted, after the eagerness of Nina, to make a chronicle for each album, produced by the artist, and engaged to me with being most objective possible, on what I thought, of work carried out.
I did not know it yet, at the time of the recording of XTRAX, the first album, dating from 1992, but with the passing, and having had on many occasions, by telephone, discussed with Jocelyn, I can today, to make a critical summary of what was this first opus, then following albums until today, at the end of 2013.
One year front, the sessions of recordings of XTRAX, Jocelyn explained me why it had received a new reverse, with its formation, Orpheus-Kaïgua, group of a dozen musicians made up of a string quartet, a session rhythmic, low, battery, piano, some coppers and its two chorus-singers of the time, Nicole and Francoise “Small sister “.
It had had, to dissolve the group!
was in an anger, that it decided, with its own financial means, to go in studio
of recording, a place which it had already tries out, since 1987, successfully,
and to create what will be this first album, XTRAX. (Initially
`I did not keep, any more musicians, only Nicole, remained with me, me to assist for the voices, Petite sister, which liked less, the new repertory, towards which I moved, a repertory less centered towards a Magma spirit, declared me, one afternoon, whereas we had been given go in a coffee, at the end of 1991, it stopped also the group. At the time of the same time, thanks to a friend of my brother, Béatrice, who had itself, be a pianist then dancer, during a short moment within Orpheus-Kaïgua, I pus to make knowledge, of Saveria and Raphaëlle, which were going to become, at different moments, respectively, chorus-singer and pianist, of what was, small formation of Orpheus-Kaïgua. Thus, with an extreme speed, I asked Savé, if it would agree to join Nicole, to make the choruses, on this album. Here is the core, drowned to which came to join, Béatrice and her young Emmanuelle sister, for a title,
“” Not present in the new edition of XTRAX, but in the bonus' '
“Also Took part, Petite sister, indirectly present on this album, since I added, of the old sessions going back to 1987, that is to say five years before the real sessions of this album” '.
This album is it only of the discography, where all the titles are sung; the pop one is quite present, which does not remove of anything the charm of the unit, wanted by the type-setter, it exists two versions of “Eva”, title where the musician uses per moment, a language which it had invented, as that was already made, in other formations, titrates, where one can hear the group of 12 musicians which composed, the first team of Orpheus-Kaïgua, that of 1986-1987). Another version, going back to 1988, on an arrangement of Stephan Mirzayan, the best friend of the type-setter, can be heard, in the no-claims bonus.
An album, quite pleasant to listen, an interesting voice, that of Jocelyn, itself, and already passion to greet a universal fraternity, through one era of the Aquarius, which will not be long in coming. At this time, the type-setter did not have his own studio, thus the sessions were carried out, in 3 studios:
Dock 43, in
- the studio D Pekinese, in
And the Hook, street Beautreillis, always
FOR ALL THE TITLES:
- Songs: Savéria Colosimo, Nicole Szydlowitz, Francoise “Littleskaïa” Charon, Valerie Jamet.
- Voice of narration: Beatrice & Emmanuelle Turlet
- Jocelyn Page: Electric pianos, synthetizers, low, guitars, percussions additional, song.
- FOR EVA, version 1987,
- Low: Joao
- Violoncello: Aurélie Vérier
- Viola: Renan Bellec
- Violins: Bruno Delpeut
- Trumpet: Frank Delpeut
- Saxophone tenor: Christophe D.
- Alto saxophone: Mathieu
Battery: Christian P.
Four years, passed, and it team is entirely new for this album, much more experimental than the precedent.
`With Nude, any different stay, because I was with friends around to leave me, who had my whole confidence, and me what I wanted “to try out, in my work, not that this enfute not the case with XTRAAX, but I then did not have studios, and my bonds with my fellow-members, although close relations, remained incomparable with, those, of the small team which worked with me then. Savé, for internal reasons with the group, had left the formation, but I found myself with two partners, who believed extremely in the project, of the spirit world music, Patrick Hachi, my guitarist and Valerie Rémy, with the keyboards. On NUDE, Raphaëlle, friend of Savé, brought its voice, on the title “Ichu weiB nicht wer, Ichu weiB nicht was”, and it was one moment interesting for me, because to use the German language, with it, not singer, usually, remained an interesting experiment. During 1994, Carine, my new chorus-singer A join the formation, and naturally, lent its voice, on several titles of this album, in particular, “sweet secret”, and “kids”. Having my own studio, in fact, a home-studio, I pus to test more easily, techniques of mixing, over a length of time, which did not depend on the hours of studio with paid! That with a great satisfaction “”
Nude is different from XTRAX, a little more rock'n'roll, a little more jazz-rock'n'roll per moment, “the pythagorian”, or “talking woman”, and more experimental, “the new resident”.
The concept is polished, but remained still embryonic, at this stage.
Nude was recorded on a portastudio 8 tracks, between fin1994, and September 1996.
The singularity of this album, as remains, as it was during the realization of this one, that Jocelyn had serious concern with its eyes, and that it finishes the mixing between August and Septembre1996, partially-sighted person.
I noted the almost continual presence of the play of guitar of Patrick, a musician, who knew to include/understand, and brought an additional key to the concept. Jocelyn, considers to date, that he was the musician nearest to the spirit of the time, and that which engaged most deeply in the evolution of this music. Carine, is not best chorus-singers, than, the type-setter had, but it knew, also, to bring a particular note, with this album, always marked by the pop one
- Patrick Hachi, Souleymann: electric guitars.
- Carine Habect: song
- Raphaëlle Rabilllon: song on “Ichu weiB nicht…”
- Valerie Rémy: voice of narration on “cool in my head”
- Jocelyn Page: pianos electric, synthetizers, low, guitars, percussions, song.
One particular period for the type-setter, undoubtedly the album which was carried out, under conditions of most difficult, however, this one remains one of the albums preferred of Jocelyn.
`For the mysterious wanderer, all was carried out at the time of the rather difficult phase of my lives where I had become partially-sighted person, this, since approximately one year. I once a month went, in Salpétrière, to make a chemotherapy with a product which named Indoxan, to stop the degradation of my cells of the vision, due to a disease called, Sarcoïdose, rare on the level of the eyes, chimio not as heavy as for the cancer patients, but tiring despite everything, added to that, my couple with Valerie, pianist and narrator on NUDE, did not function well any more, we had put itself together during the recordings of the preceding disc.
Lastly, we had moved in, for financial reasons, in Paris, in a dwelling, located in a dead end of the tenth district, apartment which I hated, of30 square meter, sinks, and whose only one opposite was a wall. My business, studios including was in paperboards, that I could not unpack, since it was agreed between Valerie and me, that we would separate, and in any event, this30 square meters , was too small for a sound installation.
Therefore, jedécidai to make a purchase necessary to my creation, a macintosh on occasion, that of the first generation, the same one as that where one could see, Steve Job, to make a demonstration of it, during this year 1984, where thanks to a voice synthesis, it presented what was going to become the data-processing machine of the years to come.
An occasion which was not to me expensive, I do not remember any more of the price; I also made, acquisition for a small expandor, Yamaha, with sounds going of the piano, with synthé, and percussions, and only, without musicians no, without chorus-singers, since I made a total stop with any project of group, only, therefore, in a corner that Valerie had arranged, to install my Mac, and my expandor, as well as the keyboard of 49 keys midday, I carried out my third album. '
This album instrumental, only, and more is centered towards a jazz-rock'n'roll spirit,
“Flowerland”, and “peeperland”, for example,
Undoubtedly more difficult to listen than the two preceding albums, personally, I it affectionate despite everything. Jocelyn always the concern, to dislocate in value, a kind of universal fraternity, while trying to call upon influences of quite different countries, “Nehru”, dedicated to India, and “Perestroika”, dedicated toRussia.
Jocelyn, finds once more, its creed, which will be its leitmotiv, a welcome at the era of Aquarius, one era to come.
A title, adaptation of the song “Chuck”, was withdrawn from the remasterized version. Here the credit of this album:
Jocelyn Page: Keyboards, percussions, programming battery.
Very an other environment, for the type-setter!
Five years passed, Jocelyn lives from now on, and this, since the end of the year 1998, in Martinique, not more group than before, but a certain freedom, of movement and especially more hospital, and less constraint, are occurred in its life!
Then, came an important meeting….
In June, 2002, via Internet, then the telephone, Nina and Jocelyn learn how to know themselves, to be discovered, then finally by mutual agreement, created the label, Sirius-Neeting, which will allow the one, as with the other, to carry out artistic projects expressing their own requirements. One year afterwards, I did myself, the knowledge of Jocelyn, and ended up following the slow evolution, and ensured of the artist.
`The circumstances, made that my new life, at least, during a dozen spring, were going to occur in the Caribbean, to Martinique, I were helped by that by my father, since separated from Valerie, and a little distant from my friends, I well only found myself, from now on in Paris.
Living from now on, in my mother, I pus easily to remake me a moral health, and to go up my home studio, which, I missed so much. One year afterwards, I became acquainted with Nina, with which the current and the vibrations passed to wonder, so much from the artistic point of view than philosophically. Its experiment, and a certain financial base of its share, made that we could assemble our label, named at the beginning, Spirit world music record, then vers2009, Sirius. This denomination existed already in America, for a numerical network of diffusion, thus transform us, this name, in Sirius-Neeting, towards the beginning of 2010.
Structure well useful for type-setter, which does not wish to work with majors or labels, which one does not control, the wheels.
Alice is in, Alice is out, were thus the first true album has to be indexed in the catalog, Sirius-Neeting.
Nina, after a listening of the models of the aforesaid album, presented to me, via the Net, a singer Afro-American, Sheila Wilson, who according to it, could bring a small key to certain titles.
Nina thought of titles like, “Coils power”, and “Yes”. I was ok for this collaboration, Sheila, who did not speak any word about French, was very attentive and very professional, on what I could hope for of his person.
, In Alice, the creed concerning the welcome for one new era, remained the engine of the concept, simply, I tried not not to too much close the harmonic colors of this realization, as that was a little the case, in “Mysterious Wanderer”. The words of Coils power, were inspired to me by a mall, which forwarded me, Savéria, one of my ex-chorus-singers, mall bearing, on a poem speaking about universal fraternity, for this reason, a moment in the song, I say: thank you Savéria.
Alice is a small release, after the difficult phase, of 1996-1998, which I had just crossed. This album as showed me, as in spite of my malvoyance, I could always control and continue my work of creator. '
The environment of the Alice album is more positive than preceding CD, and balances it between the sung titles and the titles, only musical, is respected. Alice still polishes a concept, which is sought still however.
Two American musicians, also took part in the realization of this opus, always meets that Jocelyn made, thanks to the personal network of Nina. Here the credit of the participants for Alice:
Sheila Wilson: voice
Gift meredth: Low
Ruth Jenkins: percussion
Jocelyn Page: electric guitars, low electric, synthés, pianos, percussions, sound effects, voice.
This year there, the type-setter carried out two albums, the first having a color rock'n'roll, Absolutely more freely, and the second, pouring towards the traditional one, with arrangements of assembly, and turnings compositions around the poems, written by a former friend deceased, itself, musician, Marc Dietrich.
These two albums, in particular versions remasterized, purged many titles, for Absolutely only, mark a certain maturity, which indicates an evolution in the concept.
`I wanted deliberately an album plus rock'n'roll, freer on the level of the harmonic technique. I composed much of titles, for Absolutely, the result was that, all was not good, and with Nina, we thinned considerably the remasterized version, which is in this box, which is a good thing. I worked with the same small team of musicians for this album, Don Meredith for his low, etRuth Jenkins, for additional percussions.
I made all the voices.
The innovation was my collaboration with Jean De Pastre, a painter, who were in fact, the companion of Carine, one of ex-chorus-singers, which had sung on Nude, (“sweet secret”, and “Kids”, cities previously), Between Jean and me, the power was on rather quickly, and its participation gave me great pleasure, that pointed out my collaboration with Patrick to me, my ex-guitarist, and the joint point, between them, was that all two had known to listen to, include/understand and bring their own taste, with the concept. Jean made me several drafts, for the small pockets of Absolutely, and Nina, itself, were conquered by her artistic key.
For Alice, a numerical tape recorder was my principal working tool for the parts recorded, on the other hand, I turned over to a use of my computer for Absolutely, the need for several ram audio, quite many, convainquirent me to use this tool.
This year there, the mom of Marc Dietrich, a former friend deceased, asked me to carry out a sound track on poems, written by her son, asks who aroused my interest, and whom I put at ^profit, by appealing, with recordings carried out, by an American symphony orchestra, directed by a knowledge of Nina, Samuel Adler, with whom I transmitted a list of several extracts, extracts that I wished to have for the mixing, of what would become, an end of dream.
With that, and remote, and with the authorized participation of Corinne, a large friend, singer, (in the no-claims bonus, the song, “Sensuality free”, is interpreted by it), and Marjorie, another friend singer, (`pleasures always “, in the no-claims bonus also), thus lent, their voices, on poems of Marc, whom I choose.
Normalized, a jamaïcaine, and Daniel Erin, an inhabitant of Martinique, speaking easily German, came, to increase this small group of narrators, narrators. An end of dream, is an album, which I like much, although, commercially, it was not my best business, far from there. `
² ' Janice:
Here, two other albums, quite distinct this time, which add a different color, and conclusive, so that Jocelyn is able to make. Sirius-Neeting was, from now on, on a rate/rhythm of cruising, a quite personal road, which was going to mark a step yet more decisive, 7 years later, in, 2013. A key rock'n'roll, and a traditional key, a great variation, for a concept which adds with the additional harmonic colors to its kaleidoscope.
Here participants of these albums:
Absolutely MORE FREELY
Gift Meredith: Base
Ruth Jenkins; percussions
Jocelyn Page: pianos electric, synthés, percussions, guitars, low electric, and voice.
An end of dream:
Marjorie M, Corinne H, Normalized Clarke, Daniel Erin: narrations.
Jocelyn page: arrangements, keyboards, voice on “typewriter “.
And well here!
With Trisölogia, Jocelyn A chooses the way definitely more jazz-rock'n'roll, by its influences marked for the improvisation, making think of Zawinul or Herbie Hancock.
The traditional one, or at least, its inspirations present, and enough are incontestably, balanced with the electric jazz.
Since there is no song, just, the simple and pleasant voice of Lauramie, Anne-Laure, the collaborator artistic of the type-setter, have turns over to an environment, more open and more mature, which could recall, the mysterious wanderer'. 18 titles, which meet to form a history, 18 titles, which shows at which point, Jocelyn forged its concept to approach finally, of what it really wished to hear. Trisölogia is an album of musician, therefore, perhaps, for the neophyte, this album will be difficult to listen….who knows. Personally, I hear it again with pleasure several times, even if this opus does not seem as easy as, “Alice' for example.
The small pocket of this album, is the same one as that of the box, and was carried out by a designer of Lyon, Marthe Grimonet. One can find the work of Jean de Pastre, the collaborator of Jocelyn, on Absolutely, the graphic composition of the labels of DVDs.
Jocelyn spent 3 years, to put at end this album, of which a year in parallel to realize, the opus according to, CLOSED CUT.
Closed cut, is quite different, always making call to the creed of the type-setter, universal fraternity, and the advent of the era of Aquarius. With the origin, it was about a sound track of a means-measuring, carried out by anglophone Canadian, Mickaël Mugler. Jocelyn having white chart for the exploitation of its works, it made of it a concept which is listened with curiosity.
30 musical cultures are found in this work there, because Mugler had required of Jocelyn, to join together by the sound, of the areas which at the base, did not mix. A sound whole, which can leave indifferent or challenge some, according to .....
While waiting, the next one ......
Here the credit of the album which is composed of two present:
Jocelyn Page: Electric Arp 2600, moog emulation, pianos, fender Rhodos emulation, poly-moog emulation synthetizers, electric organ, electric guitars, Moroccan Oud emulation, low Fender, fretless low, counted, percussions emulations, violins emulations, gong, harpsichord emulation, tambourine, bands effects, Cs 40 native instruments, Moroccan lute emulation, saz emulations, bathes water….
Lauramy Anne-Laure: narration
Janice: “A logical continuation, according to the new direction taken by Jocelyn Page. Nina catalogued this album into two opus “Niiltaahk leaves 1” & “Niiltaahk leaves 2”. Primarily musical, this album with is brought closer Trisölogia. To note the entry of the new orchestra of Jocelyn Page, Stö orchestrated, makes of it a whole of musicians gathered by Nina, working mainly in studio.
A musical continuation thus, a choice, and a personality to be listened.
2014: the esoteric architect
Being able to be compared with CLOSED CUT, this opus a score of different musical cultures gathers, energy of the Eastern countries that to the Western countries. A kind of conclusion to the album Closed cut, there still the kind of opus that no major of the disc will have signed. The creed of universal fraternity remains matter.
- Secret Keys off the door
- The hidden sessions
Always in the course of production, of which one in post-production, a return to the voices to will be in particular noted the second opus “Wizröz”. The common point of “secret Keys off the door” & “Wizröz” is an attempt to put in music the principles of bases of the enneagramme.
Few information for the moment, if not that Stö orchestrated is present on both first opus, as well as the new group of the type-setter, more restricted in a number of musicians, and even more pop cosmo per moment: Jocelyn Page Family Experiment.
Additional notes of June the 8, and 9 2016
Janice Cooper, November 2013.