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L’Ensemble Rayé

L’Ensemble Rayé can be a quirky and generally lighthearted music group with root base in the Western european avant-prog scene from the ’70s and ’80s, including such groups seeing that Henry Cow, Samla Mammas Manna, and Picchio Dal Pozzo. Switzerland’s primary contribution to the innovative picture was the music group Débile Menthol, shaped in 1979 and differing in proportions from seven to nine people. Featuring a variety of instrumentation, including violin, reeds, keyboards, electric guitar, bass, and drums, Débile Menthol combined post-punk and fresh influx energy with Rock and roll in Opposition components to create exciting and virtuosic music that was however very much lighter in firmness than such RIO mainstays as Univers No and Artwork Zoyd. Two essential members from the music group had been Jean-Vincent Huguenin (aka Jean 20 Huguenin) and Cédric Vuille, who continue a musical collaboration lengthy after Débile Menthol found a finish in 1985. Both musicians made a decision to type L’Ensemble Rayé in 1987, as well as the debut L’Ensemble Rayé disk, Même en Hiver/Comme un Pinson Dans L’Eau, was initially released on vinyl fabric in 1990, with each part from the disk specialized in compositions and plans by among the set (the “Même en Hiver” part presented Vuille as well as the “Comme un Pinson Dans L’Eau” part presented Huguenin). The recording provided both musicians the chance to show their abilities on several devices, with Huguenin exposing particular skills on acoustic guitar and Vuille on both acoustic guitar and clarinet; multi-tracking and a bunch of guest music artists offered L’Ensemble Rayé the audio of a complete music group on most from the songs. The debut CD’s design and strategy were continuing on the next L’Ensemble Rayé disk, 1993’s Quelques Pièces Détachéha sido, with Huguenin and Vuille once again composing a lot of the concise, RIO-flavored avant-rock and Western european folk-jazz music, and a different cast of musical helping characters helping on bass, drums, hurdy-gurdy, keyboards, saxophones, and even more. Saxophonist/clarinetist Pierre Kaufmann produced some particularly solid contributions towards the record and henceforth will be regarded a permanent person in the music group. Another L’Ensemble Rayé Compact disc, En Frac!, premiered in 1996 and designated a departure from the prior albums: it really is a classic “music group” saving — made reside in the studio room with a quintet edition of the group. The music group then contains Huguenin, Vuille, Kaufmann, and two fresh permanent users, Canadian Shirley Anne Hofmann generally on a range of instruments through the brass family members (including euphonium, trombone, and tuba) and fellow Swiss Momo Rossel, like Huguenin and Vuille a previous person in Débile Menthol. Rossel, a bassist, guitarist, and accordionist, got previously led the avant-prog music group Nimal, which Huguenin have been a member also to which Vuille, Kaufmann, and Hofmann got all added as guest music artists. The alternatingly sprightly and moody record of Western european folk-influenced avant-rock and jazz was probably L’Ensemble Rayé’s most powerful screen of composing, organizing, and instrumental virtuosity however, demonstrating that multi-tracking and various other studio room techniques weren’t essential for the group to create phenomenal music. There’s frequently been a enchanting, whimsical, and innocent quality towards the mainly drummer-less audio of L’Ensemble Rayé (a light strategy that is fairly unique among rings with an avant-garde sensibility and invites evaluation to groups just like the Penguin Cafe Orchestra and Phillip Johnston’s Transparent Quartet), so that it wasn’t entirely unexpected that another Compact disc was a child-friendly undertaking having a Winnie the Pooh theme. Ein Fest für Pu den Bären was the seventh disk in some Pooh recordings around the Kein & Aber label, and presented the five L’Ensemble Rayé users from En Frac! As the audio of Ein Fest für Pu den Bären is comparable in lots of respects to En Frac! — and of wide charm to both adults and kids — the Compact disc in fact heralds a go back to the strategy from the 1st two L’Ensemble Rayé discs, with a great deal of overdubbing and several guest music artists supplementing the primary group. Actually, Rossel and Hofmann would quickly leave the music group, to be changed by two from the guests who made an appearance on Ein Fest für Pu den Bären, Yann Altermath and Julien Baillod. With Huguenin, Vuille, and Kaufmann became a member of by Altermath (on alto saxophone, alto horn, and percussion) and Baillod (on acoustic guitar and bass), the music group came back to a quintet format because of its 5th recording, 2001’s Vis-? -Vis Movers, which contains music commissioned from the MOVERS dance firm and premiered at a live dance functionality in Zurich during March 2001. Preserving the top quality musicianship from the preceding four L’Ensemble Rayé discs, Vis-? -Vis Movers also noticed the music group branching out into brand-new stylistic areas, a good flirtation with spacy, rhythmic electronica. While a truckload of music artists have added to L’Ensemble Rayé discs over time, the relationship of Jean 20 Huguenin and Cédric Vuille provides remained vital that you the group’s audio on most of its recordings to time. When one considers these two performers began collaborating prior to the end from the ’70s in Débile Menthol, their long-term musical romantic relationship seems even more remarkable.

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