8 February 2008

Francois Tusques - Le Nouveau Jazz (flac)

An upgrade of this was requested by jazz-nekko. If an mp3 version is required, I'm sure someone will oblige through the comments.




ubu said...

This one's effing great!

For more info on Barney, go here:

Here's the info from that site for "Le Jazz Nouveau":

Compositions de François Tusques avec Barney Wilen.

Barney Wilen (ts) Francois Tusques (p) Beb Guerin, Jean-Francois Jenny Clark (b) Aldo Romano (d)

side 1
Coda 4'40 (BO soundtrack) François Tusques piano solo
Sombre 2'55, François Tusque piano, Bernard Guérin contrebasse;
Enregistré le 16 janvier 1967 aux studios Dovidis à Paris

side 2
Cantique du Diable 7'06
Les sorcières 6'19
Dialogue II 5'20
François Tusques piano, Barney Wilen ténor sax, Aldo Romano batterie, Jean François Jenny Clark et Bernard Guérin contrebasses
Enregistré le 15 février 1967 au studio de la comédie des Champs Elysées à Paris

Original French pressing label MOULOUDJI EM 13 517 S first issue February 15, 1967 (Mouloudji EM-133517)

Jazz-Nekko said...


Thank you for considering & granting my request. From the first time I listened to this some weeks ago until now, it has fascinated me.

This really must have been a fairly radical outing, I mean '67 - rock 'n roll was raging, jazz was hitting a decline and progressive explorations were beginning.

I am in your debt for having the option of such a rare side in fron of me.



sotise said...

thanks for the upgrade B.
ITS A WONDERFUL album, that's well worth the trouble.

jn for me rarity just doesn't cut it.it certainly doesnt ensure a quality experience, often enough quite the opposite is true.
example: no matter how many horace silver albums i hear song for my father and cape verdean blues, though they may be the most popular are none the less the superior examples of what he became known for.
there was a time when his early 70's lp's were relatively rare, and with good reason in my humble opinion.
unfair perhaps to use a different genre to illustrate a point.
many people now scorn 'song for my father because it was a huge sucess,or kind of blue, a love supreme whatever.

in this case and the murray selftitled on shandar, its almost criminal that they've been so underheard through neglect.

nad3170 said...

Simply amazing !

Jazz-Nekko said...


i explore your comment about 'rare' and i think you refer rare in the sense of availibility, whereas i refer to rare in the sense of the number of sets, concerts or examples of a particular sub-genre or period in an artist's life or in the pure historical sense.

'68 became a catclysmic (sp.?) year 'round the world. war, social unrest, manifestations/protests, racial issues, technology innovation, etc. point to a fairly strong upheaval in the human spirit - at least - for me, my short-years, '67-'70 were very marked.

so, i say "rare". please teach me of other sets & time periods that clearly reflect, for example, a snap-shot of the parisian jazz scene?

anyone who has ever read my blog will immediately sense the autobiographical nature of my jazz preferences. my musical memories began in the '50s. by the late '60s, i was a young man and aware of the impact of social events.

the word "rare" will cut it for me B/C it fills in a gap of that musical quilt in my memories. . .

p.s. sorry to digress and apologies for any unwanted psycho-emotional-sentimental babble;-)

dalemcbdnl said...

I sure would have liked to be in Paris during the summer of 1969 when all those BYG Actuelles were being recorded. It was certainly an amazing series with AACM people and Europeans putting down a revolutionary group of recordings. I certainly wish there were more of them AND I'm sure they were not getting the kind of public notice they deserved. BUT, in retrospect, those artists were at the nexus of what was happening, creatively speaking, in improvised jazz. At the risk of sounding elitist or cynical I don't think the "cutting edge" in the arts EVER gets the respect that it "deserves." New and highly personal concepts in music are hard to digest for people "hooked" on (and rigid about) traditional values. But I hasten to add that traditional values are not limiting UNLESS they are used as the SOLE yardstick to judge what artists are creating. Of course, my view is that interesting artists and their creations OFTEN make it a point to PUSH or IGNORE boundaries. It is somewhat paradoxical (maybe ON THE SURFACE a little sad) to argue that vital communication must be personal and esoteric RATHER than have universal appeal. Unless the artist and his “product” (for lack of a better word) is “hip” or has some cachet it may all be ignored (at least contemporaneously). There is another issue of technical mastery and what that means but suffice it to say that I feel virtuosity BY ITSELF is insufficient. Great art demands BOTH proficiency and originality. And, as I say, the larger public may be unable to grasp/hear the beauty.

At least Paris had the BYG and Shandar stuff. San Antonio Texas, where I was living at the time, was in the middle of an even MORE serious artistic drought.

(Like JN I digress - BUT it's an interesting discussion!)


sotise said...

dale... it may surprise you to know that some of the better known american free jazz artists , shepp, ayler, aeoc were big stars and flavor of the month in paris for 4 or 5 years, albert ayler, shepp, sun ra , et al were all regulary featured in a magazine called something like rock and folk.
and were apparently frequently lauded in the press.
that magazine was a slightly hippy version of cream or rolling stone.

that didnt nessecarily translate into sales, and filled auditoriums.
im sure pierre has a better idea ,just how popular the music was in that transitional time.

the french underground rock scene seems to have been very impressed, and bands like lard free, gong ,and moving gelatin plates often played on the same bill's.

even in britain and the us, the record industry took an interest as a result.

its common knowledge that , members of cream and the rolling stones were shepp and sun ra fans.

i have a 55 year old breton friend who used to read rock magazines as a teenager in brittany, and he says he bought free jazz albums through discovering them in their pages.. when he was 13!!!

Tantris said...

Pierre --
Thank you for posting this, and the two Shandar LPs. I have managed to listen to all three now at least twice, and they really are excellent.
It is interesting that 'Le Nouveau Jazz' has obvious influence from Le Domain Musical, from Tusque's pointillist piano introduction to several other aspects of the music - and that the later 'intercommunal music' is much freer. The second part of that is almost a francophone version of 'Machine Gun', announced by Tusque's thunderous piano.
The Sunny Murray is also excellent - it could have been an Albert Ayler recording.
I am looking forward to more, and am hoping to lay my hands on the book 'Chants libres' aussi tot que possible.
Cordialement, Tantris

phil said...

outstanding , so peased to get this
cant thank you enough
such an incredible piece of work
many trhanks

kinabalu said...

If anyone has a copy of the earlier "Free Jazz", it would be great having it here. I suppose the lp version is unobtainable these days, but there was a later cd version which might be easier to find. I tried "Jazzloft", but the guy had run out of copies.

Boromir said...

I got "Free Jazz" off a blog a year or so ago, I can't remember which one, so there will be people around who have it. My version is only a very modest 160Kbps. I'll post it if no one comes up with a better version.

1009 said...

boromir --

i remember there being some controversy over whether *free jazz* was in fact *le nouveau jazz*, or vice versa (or something). if the one you have is indeed *free jazz* i'd love to hear a 160 rip.

kinabalu said...

A cd copy of "Free Jazz" is underway, so we shall find out!

david_grundy said...

wow. Superb album. 'Cantique du Diable' has to be one of the best tracks I've heard, period. Building up that sustained intensity, with flashes of romantic, almost cocktail jazz poking through in Tusque's compositions. Wilen sounds inspired - I believe this was his first date playing free jazz? He seems like an interesting character, from a brief perusal of the AMG site, but my only experience of him apart from this is with Miles in the 50s (Ascenseur pour l'echafaud).

Anonymous said...

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Andy said...

Yikes! I was NOT expecting that. Thanks

onxidlib said...

New link:


Anonymous said...

Thank you very much for this new link ! I'm just discovering now this blog : it seems fantastic, keep on !

from France

Anonymous said...

I found this DL link for Francois Tusques et le Nouveau Jazz Francais :



onxidlib said...

Don't use the button under the description - it only offers a exe-file - same goes for "download now".

Above are the links for rapidgator - albeit only for premium users of Rapidgator.
This LP - btw - will be re-issued - by Finders Keepers/Cacaphonic.
I believe the schedule is for 2015.