No, I'm not an instrumentalist virtuoso and I did not receive musical formation in an academy. For any statement, I'm a self-taught. But the music always impassioned me as of my more tender childhood. Today, I compose and make music for the pleasure, and without constraints. I build sound and rhythmic stackings without me to trouble about the styles in strengths, and sometimes about the elementary rules of musical theory … yep Bob ! I did not become doctor Cubase or ProTools, I simply try to use best than I can my hardware and software for satisfaction to make Music and share it.
I grew in a family atmosphere favourable with the musical awakening. Indeed, my father adored to sing. With my uncle Daniel, who was a professional musician in classic orchestra, they had fun to record in overdub (Re-recording in french !) songs while being useful of discs of instrumental versions, of two stereo tape recorder Sony (tape 1/4 inch), of some microphones and a small mixer. This occurred in the middle of the Sixties. My brother Franck played folk guitar (Framus) which it electrified thereafter, then with electric (a copy then true LesPaul Gibson). While listening to vinyls, it spent the hours to decode the play of the guitarists in vogue in the Seventies. As for my sister Véro, she wanted to also play herself at the music and my parents bought an electronic organ Orla to him. You understand now why I was "contaminated".
Francky played in various bands, of which Orion (Jean-Claude TOKARZ: keyboards and vocal, Franck MAMOSA: guitars and vocal, Patrick WYREMBSKI: bass and acoustic guitar, Michel ROUSSEAUX: drums and percussions, Laurent DELENNE: vocal, guitars and flute). This band was "Tremplin d'or" (contest) of the Golf Drouot in 1976 (the Temple of the French Rock'n'roll created and directed by Henri Leproux). Extremely of this recognition, the band entered in studio recording in 1977 to record one there single (45T). It went back there into 79 for a LP: « La nature vit, l'homme lui critique ». In January of this year there, I went to attend some meetings of recordings to studio LSB (Paris). This studio recording, located behind the Saint-Martin church in Paris, was created by Willy Lewis: ex-drummer of "Les Chats Sauvages" then of "Les Champions". It was Charles B Raucher who was the sound engineer. It has worked for Vangelis (Make that your dream is longer than the night), Pink Floyd (Live At Pompeii), Alan Stivell, Mikis Theodorakis, Gary Burton with Stephane Grappelli, David Christie... A great ingeneer… It did not hesitate to give me some explanations and tips.
At the time when I had just returned to the College, with four buddies: Diego, Michel, Minou and me, we decided to create a band. We had named it Celcius. I had decided to take the keyboard part. I had then borrowed the organ from my sister. Our influences were Ange, Pulsar, Crimson, Pink Floyd, Nektar, and well involuntarily Orion. We had repeated during long month, and had almost ten titles to our repertory. But we never made concert. For some among us, the idea to go up on scene paralysed by advance... Then we made private concerts in our room of repetition with its egg plates stuck to the walls and the ceiling, a poster of Ange pasted by here, another of Pink Floyd by there...
Parallel to my musical activities in Celcius, as I arranged in electricity and electronics, I made the lighting engineer of Orion in concert. But the increasingly pointed needs for Orion for the quality of wiring for sound propelled me to the the mixing console with Didier. It was a RSD 12x2. it's Fred who then dealt with lighting with my place. At that time, our qualification was a "sonorisator". We did not take title whirring and the honorary of "sound engineer" hitherto reserved for those which had the diploma and inevitably the control of Art …
The Celcius band was dissolves current 78 (perhaps by turn in round, a such piece of sugar in water glass …) . I have then join other musicians of the college who did not have a keyboard. I do not remember any more if the group had a name. That of which I remember, it's which during the pauses which we take during the repetitions, some musicians were going to do skateboard at the bottom of the council houses… This formation did not hold well a long time because our musical tendencies were too distant (perhaps also our sporting leisures !…).
In September of year 79, the re-entry was hot for Orion: I became the second keyboard of the band and Michel, the drummer, left the formation for professional reasons (removal in the south of France). Jean-Claude wished to delegate the accompaniment part to me to give more expression and of virtuosity to his play. I felt very honoured with this proposal. The advantage for the other musicians was my perfect knowledge of all the compos. As my arranged organ did not make serious, Minou lent its Kawai 100F and Jean-Claude to me his Elka Rhapsody to make my "set". He, it preserved its Hohner Pianet-T and Yamaha SY1. In a few weeks, JC taught me all the topics, agreements, gimmicks and others phrased… Michel was replaced by Pascal (ex-Lima) who was a drummer without band at this time there. Minou dealt with the mixing with P'tit Jack. With the first concert, I have felt the vibrations of the scene then. These things there are indescribable: they are lived and are not explained… This new blood insufflated a new dash with Orion… for little time.
In spite of these upheavals and a calendar charged in concerts practically each Saturday, the old ones of Orion decided to record a new album. During winters 79-80, we polished our play with an increased number of days of repetition per week. A weekend of December, we recorded a model on a four tracks Teac 3340. In January 1980, we entered into the "Studio du Chesnay" in Versailles. This studio recording created by Philippe Besombes was also the center maintenance of Mellotron in France. Today, the studio east increases (studio A and studio B) and is named Versailles-Station. The sound engineer was Patrick Woindrich, bass player at his hours: Arachnoïd... Thereafter, he became producer: Les Avions, Charles de Goal, Oberkampf, Berurier Noir...; sound ingeneer for: Telephone, Urban Sax, Mano Negra.... In February, we had begun the mixing whereas all the catches "song" were not finished. Dissensions within the band reflect a crushing argument to the project in progress. The bonds distended before are breaked during the summer 1980. The last concert take place in June this year there.
In fact, episode III started into 79, before the end of the second episode. Parallel to the Orion activity, I made musical experiments with other buddies in Studio 202. This place, enigmatic for certain people, was quite simply the apartment with use of dwelling of Denis. 202 was the number engraved on a bakelite plate stuck on the door of housing as on the key of the intercom located in the hall of the building. In this place, we found ourselves between friends to make music or to pass a good evening (it's "or" not exclusive !). There was the hard core: Denis (obviously), Minou, Bob, Diego and me, but also of people of passage. Often, the latter did not return, they were to think of having fallen into a lunatic asylum… This episode finished for me in October 1980 when I joined the troops of the Empire. Euh… the barracks to make my military service ! The music was put in "standby" during one year. On my return to the civil life, there was an attempt at formation with Bob, Diego, Michel, Minou, me and a box within electronics drummer. The name sounded very well : Jabra Total. But our professional life or the disinterest with a serious implication in the band reflects fine with over-estimated ambitions. The navigators of the Guild then folded up musical space in 1984.
I did not make "seriously" music lasting nearly ten years. From 89 to 91, Pascale and Minou helped me to extract "Garmonbozia"… it's during this time that I started to compose with the "tracker" Quartet on Atari ST In 1992, it's the year of the return to the physical instruments with some compositions with Laurent and Minou (we had named this formation: Trio Furieux). We exchanged diskettes with pieces recorded in MIDI with Cubase on Atari ST. The constitution of a Home Studio Recording directed MIDI and Computer Assisted had then started. This one grew rich gradually. it's the result of the meticulous research of the complementarity of the machines which make it up. This home-studio recording is not a museum and I hoard not of the electronic music instruments ! My synths are not "best-seller", and in any case they are out of listed of month in month…
I took the option MIDI because the possibilities of modifications and arrangements are much larger and easier to make compared to the numerical audio recording : «this topic is better with a sound of sax in the place of the trumpet, I duplicate the gimmick the low one to make it play fifth by the guitar, this note is false and I correct it, this note is badly placed and I give it in the tempo, I copy the groove's drums and I apply it to the electric bass…» etc. These manipulations, I cannot do them in audio !… I intended to say that the temporal resolution of a sequencer MIDI did not make it possible to record the nuances of play. But I'm not Kerry Minnear or William Bruford. The possibilities that get the sequencer to me are enough me. No limit, only my imagination.
You can listen some titles of my music in the page "My compositions".
Episode five (2015)
After the issue of the CD "Mémoires du temps" in 2012/2013 who was made with old recordings of Orion-Group dating 1980, Minou and Bob wanted to make a remix (for want of a better word) of these older recordings in 2014. The name of their formation is Memory Yet Tapes. Minou wished to make an album "tribute" to 20 years of Laurent Delenne's death. In the facts they are new atypical and original compositions into which are inserted the fragments of singings or Laurent's guitars. These parts are very often "played" back to front (reversed). What would not have displeased Laurent, quite the opposite… I contributed to this Minou's album with 3 titles. The CD "Juin 95" is issued in December, 2015 under the label Musea Parallele. This CD one is concentrated by musics "Rock-Progressive-Electro-Synthetic-Ambient" in very original compositions.
Buy CD Juin 95 on web site MUSEA
Official web site MEMORY YET TAPES.