Noel Akchote

Sakamoto, Fripp, Czukay et al.

Noel Akchote

Postby silentwings on Mon Jul 18, 2011 7:32 am

Can anyone cast any light on the work that David has done with Noel? I believe that Baht mentioned there was an unused session from the Manafon sessions. Does anyone know any more? His Wikipedia entry says that he featured on an album by David. He is thanked in the Manafon credits.

Also, there is an interview in french on the Samadhi site - but my school boy french is not good enough to decipher. Can anyone help? The link is here ... _2009.html

There also appears to be a photo of Noel by David in that piece.

Any information gratefully received!

“Great things are not accomplished by those who yield to trends and fads and popular opinion.” att to Jack Kerouac
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Re: Noel Akchote

Postby Simonp on Mon Jul 18, 2011 8:49 am

I used google translator to translate it so apologies if the translation is a little odd

Jazz Magazine / Jazzman # 607, October 2009

David Sylvian interview in Jazz Magazine / Jazzman # 607, October 2009.
Interview: Frédéric Goaty

I still hear the ghosts of Ghosts in your voice, your writing and also ...
The way I approach a song is less important than the idea, more generally, deconstruction of an arrangement. Ghosts certainly works as a prototype: this is where the idea, and especially his execution, gave real results. But there were then other songs that échoïsé this approach: Weathered Walls, Gone To Earth, Pop Song, etc.. With "Blemish", the traditional form has more or less given up, and we entered a more abstract, to try to create new forms. "Manafon" is an extension of this appoche.

At first listen, "Manafon" does seem to be more "logical" to "Blemish". But the emphasis is placed on the voice, you have "framed" in a different way to free improvisation of your coaches ...
There is a difference, as you know, between what we call "jazz" and " free improvisation. " Although many believe that the roots of jazz from free improv, and that its evolution has gradually defined as a genre in itself. Considering all that I have published ten years, "Manafon" is perhaps the least disk crossed by a feeling "jazz". On the other hand, he embraces improvisation more than anything I've recorded to date.

Improvise you live in the studio with your musicians?
No. I write the lyrics and I register in a few hours, as soon as I find myself for the first time alone with the music, which is also a form of improvisation - not perhaps in its purest form .. . The economy of means employed reflects, I believe the improvisations themselves.

What are your influences today? In "Manafon" you oscillates between singing and talking ...
I find it very difficult to define exactly where my influences come from. I absorbed and digested so much that can arise in my work without any calculation on my part. You really care about what I quote two artists-singers who still echo in me? Robert Wyatt and Tim Buckley. But I'm not sure that you get to hear their "influence" at home ...

Nick Drake, John Martyn? You've worked with bassist Danny Thompson, who also recorded with them ...
Drake and Martyn are both part of my musical diet for decades. Martyn, I have heard however that its discs. Again, this is perhaps not so obvious, but I often felt a deep kinship with Drake.

Do you have created your own aesthetic?
It is not for me but to others to decide ...

Christmas Akchoté participated in sessions that you run ...
... but they did not suit the overall tone of "Manafon" - like many others besides ... But I love Christmas - the musician and the man - and I'd love to work with him again.

How did you meet Evan Parker?
I used to write for musicians to call them ... For Evan, it's very simple: I'm pretty close to someone who works for the ECM United States, and I asked him his email address ...

Would you like to record for ECM, edited by Manfred Eicher? You played a decisive role in the latest CD Arve Henriksen, "Cartography," published by the label ...
I'm not sure it would be a good thing. But if one day Samadhisound no longer exists, certainly. But I do not think I personally need the patronage of Manfred Eicher, though I have great respect for him and his label.

Despite the "power" Growing downloading, legal or illegal, you contine to believe the CD ...
I have no particular attachment to a CD as a medium, but I've evolved in a period when music was related to and I'm not ready to totally abandon this idea of physical media. Why? Because I love the concept of "collection of songs", the themes, concepts, how they dress, the design of the CD ... The new media are pushing the limits, but I do not want to lose what is good - sometimes bad ... - in the fact that this one "suite" of songs. Each can be enjoyed as such, as a poem from a collection, but I think we can grasp its resonance by having knowledge of the complete collection, right? Everyone does as he pleases, but I like to present a complete work. And as this is possible, I will.

Christmas Akchoté © David Sylvian

Christmas Akchoté about David Sylvian

"I have a strange chance (in the life course), often j'fais meetings. But real events, that is to say with people who do not know about it almost the moment before. It seems that through a mutual friend of Japan, David had heard upon its release a solo album ("Alike Joseph", Rectangle, Rec-AN, out of print) exactly where I play without ever touching the strings of the instrument ( Duo-Sonic guitar, 1962 Fender Princeton and an amp, Fender). It should start about there history. Except that on my side I had previously bought one of his albums, mainly because of guitarist Robert Fripp (King Crimson, Brian Eno, Cheikha Rimitti, The League of Guitarists Crafted, etc.).. Then I remember receiving an email (full tour with David Grubbs, the one where in fact for the record Yann Tiersen was very kindly offered us to spend our one day off in the studio with him for a RB and what we have chosen unanimously to eat at length in an excellent French restaurant in the capital), from its management regarding the recording sessions (again) who later became the album with Derek Bailey (again I do not know why but it did not happen).

David Sylvian, I understand many things at the back while his music and what it provokes in his fans I know almost nothing. It is this type of meeting I'm talking about. And we speak regularly and many not even then. It's been quite a few years it lasts, regularly. We spent some days in the studio together in Vienna, where he directed me solo first, then in various combinations with Keith Rowe and Christian Fennesz. Later, he wanted to mix the master tapes of "Joseph Alike" on repeat for Samadisound, and it was a great experience again. I seem to want to avoid talking about himself, his work, but it's a kind of modesty and genuine ignorance. Do his fans at the bottom do not have that same relationship with him? Are all his songs, his world, his presence, not of the order of the intimate precisely? Scarcely describable except to hear it. The David Sylvian I know is above all a person and that person is playing music that is the same. Perhaps I like to preserve this link to the outside world is his, as they protect a friend. Because it's his choice, his way of being there by providing a lot and also by withdrawing immediately after.

I feel really close to him and both so different. I think of this sentence Sollers: "To know how much we share with one another or just check how long you can stay in silence or listening to music together."

With David I have the impression, that also have opened a door that will last a long time, the luxury of trying many things and do not remember, with no obligation, free and full present. It was his idea, I have mine, we are handed, I would really like the songs are recorded and Broadway standards just the two, but nothing else. We have some lives to do it I think. Leaves to unfold here a little I'll tell you one thing: it makes me terribly to think that Chet Baker was holding you hand without saying a word and looking at the people around during a break between two full sets. This same awareness of the world. Perhaps even a public image that has hurt and not the reality of their loved more than sensitive and strong at once. Meetings make you a life, music alike. "
Christmas Akchoté
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