The notion of territory applies only at the level of license agreements or distribution. On the other hand, and more importantly, there is no longer a systematic correlation between aesthetics and territory. Other example, Bulgarian polyphonies were promoted by a Swiss l abe l… Th epl aceo fEur ope ana rti st son the French market is not at all subjected to the same determinism.
The most different styles are mixed together. Celtic music found its audience a long time ago, and have a network, which is particularly dynamic and creative. Imported by the folk song stream, Celtic music has been implanted since the s in the French cultural scenery. After a temporary loss of fame, the Celtic wave recovered in the second half of the s.
The public did not stop renewing and getting younger at the same period as the extraordinary cultural interest in Brittany. Fe sti val sat tr actt he general public. The oldest 34th edition in , the largest, the most symbolic, and the most established of all summer festivals in France is no other than the Inter Celtic Festival of Lorient: spectators in. The flamenco and the fado also have their well-established circuits. The craze for the flamenco, which is not recent in France, has only strengthened these last few years, with an increasing demand for guitar and flamenco dance classes.
Flamenco artists regularly occur on French scenes and excellent record collections continue to promote a flamenco of quality Enrique Morente, Moraito, Diego El Cigala, Miguel Poveda, etc. The French public is always on the lookout for new artists and new experiences. The fado took a new dimension on the French scene thanks to the talent of the singers of the new generation Katia Guerreiro, Cristina Branco, Mariza, etc. The opening of the former eastern block allowed the best of gypsy music from the Balkans to settle down in the French market.
The most interesting artists in this domain are produced by European structures German or Dutch , which knew how to perfectly play their cards on the French market. Except for these important musical currents already well appreciated in France, other aesthetic genres with a strong potential, are much less well represented. As for Greek music, they could take advantage of the charm that the French public ha vet owa rdsmus icf rom Me dit err ane ani sl ands… Mus ico fal lEu rope anc ount ri esf indawi dep lac eon shelves or catalogs of record shops, whether physical or virtual.
This tendency, which asserted itself gradually over a period of ten years, is connected to the increasing implication of major companies. They played on the phenomenon of "block-busters" in a market that had only rare examples of it, until the mid s. In case of success, independents labels can be relieved by majors. But it is noticeable that specialized labels that are subcategories of majors, rarely show a vocation for the discovery, nor for the development of artists, long term.
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The euphoria that surrounded the vitality of the sector of world music, is beaten in breach in this record crisis, which majors are feeling quite harshly. If some artists of international caliber have the sale potential of exceeding copies, those whose records would sell 20 have difficulty today in reaching half of the objective. Formerly ruled by contracts, the tour supports is the first victim of the budget cuts in majors. Currently, artists are confronted with the difficulty of the renewal of their contracts, when they are not simply returned to them.
For developing artists, majors cannot envisage, in , a set up of more than records, which represents half or a third of the figures in Until summer , in three of the French majors, BMG, Universal and Warner, jazz labels have taken charge of a part of world music productions, without having exclusiveness of them. Sony is also divided between several labels, Saint George being the most specialized one. Independent labels are the forces of the world music market. We owe them the work of cleansing the musical genre, discovering artists, founding careers, risk-taking on projects of creation, and so forth.
Furthermore they do not have the same restrictions as majors, who have to invest a large sum of money in marketing for smaller amounts of shipment. However, the success of certain labels, such as Lusafrica, must not mask the reality of this sector, where a majority of small record companies work on a precarious budget. Dynamic on their own niches of market, certain independent labels understood at a very early stage the interest they had in diversifying their commercial partnerships. They therefore deal directly with specialized operators museums, cultural institutes, specialized wholesalers, etc.
With a lack of marketing operations, independent labels can develop communication strategies to arise the interest of shop retailers. The influence of concerts on the sales of records is enormous. However certain records do not sell more than copies. This is a phenomenon, which is not very surprising if we take into account the mass of units published each month. The strength of independents labels lies in their flexibility of action, their capacity of adaptation and their power to take risks on a commercial level, as they already do on an artistic one.
The French world music market has flourished so much that it seems particularly blocked by the continuous flow of releases each week. Although we can find numerous imported records in independent distributors catalog, the number of records available in France for each reference does not often exceed 50 copies…. In , independent distributors took over a part of the market from majors in crisis. Majors marketing operations are very expensive while shipments are reduced.
However, the survival of independent labels shows that the decline is proportionally equivalent although the financial volume is not comparable.
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The fact that French distributors are non-specialized does not favor the exposure of independent productions. Labels suffer from the movement of concentration in current independent distribution and from the redundancy due to this. Whether independent or majors, all labels are confronted to the politics of shipment established by the big chains of music stores. It is true that spaces dedicated to world music offer a wide variety of products, and are the only ones not to have decreased in surface.
However, the period of exposure of all new releases is restricted to three weeks, with reduced shipments, and the albums that have a slow sale are returned to the. This situation incites all operators to begin with independents, and reflect about procedures and tools better adapted to their needs in terms of distribution. Accumulate small volumes of numerous units. The advice of the specialized salesman to a buyer is an "added value".
Certain small specialized record shops have understood and apply this strategy, such as Baba Yaga Records, a Parisian record dealer whose Internet site is completely dedicated to Eastern European music. Shows are an essential part in the development of European world music artists, in France. Most of those who are recognized by the public today forged their reputation by a presence on stage.
The success of a record is often connected to the stage exposure of the artist, and the good choice of festivals that can act as a stepping-stone towards the organization of a tour for example. In the Irma database, there are agents and show entrepreneurs who work in the field of traditional world music. Some have a restricted activity and concentrate on the career of a single artist, however more than a dozen of them follow the European trend of creation and work to develop artists established in other countries of Europe.
These professionals have different profiles generally depending on their artistic tastes. The appreciation for a voice or an excellent stage performance can determine their will to defend an artist. Other agents, pioneers of the European world music rely on the network they patiently built. Among them, we can quote Tempo Si, directed by Odile Meynadier, who developed in France the polyphonies of Genes of La Saquadra and discovered the beauty of Sardinian music. It is the case for TroisQuatre! All these booking agents have an excellent knowledge of the market and the tastes of the French audience.
They can become invaluable professional partners for European operators avid to develop their artists in France.
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There is an abundant variety of festivals presenting traditional world music in France. Exhibition of disc pockets of Sun Ra, on the occasion of his th birthday. Midnight: Jazz blind test. An afternoon exploring saxophonist Jean-Charles Richard including a presentation from the ADEJ 1pm , a tour of the Robert Martin saxophone factory pm , and a master class 5pm. The Jazz Day for all ages! Educational workshops will be held at 2pm, 3pm, and 4pm.
On the occasion of World Jazz Day, Fred Pichot and his band revisit the standards of a genre that knows no boundaries, a lively music at once spirited and catchy, festive and free. The Nice Jazz Festival since February is a major summer event in Europe and the only large jazz festival in France, organized by a city hall.
Nice also organizes jazz concerts year round. The city of Nice has jazz in its DNA! It was in Nice that, in February , the first jazz festival in the world took place. At the age of 8, he was introduced to music by Lucien Galliano. It makes the accordion ring with rhythms of jazz, tango and Brazilian music on national and international stages. With three Brazilian musicians, generous and talented, who accompany him for almost 7 years. This exhibition is a very special with children discovering an extraordinary universe, made of music, colors and shapes. Le grand rendez-vous jazz du dimanche soir!
A bon entendeur, salut! Celia Kameni is one of the most beautiful jazz voices in France, usually known as the voice of the Amazing Keystone bigband. Bassist Nicolas Rageau and drummer Philippe Soirat will support her on this occasion. On International Jazz Day, we celebrate all things Jazz!! This April 30th, I invite you to be a part of this special event with me and my very special guest. The concert takes place at the fabulous Tres Honore Salon in Paris and promises to be magnifique!!
Be tuned! A tribute to Stanley Turrentine with F. Chris Henderson Quartet. His passion for Black rhythms from around the world, especially for African rhythms enables him to enhance his dynamic, subtle, melodic and structured drumming. The U. Celebrate this special day with Amanova — in a famous temple of jazz! Grandbrothers A grand piano and an interactive mechanical system controlled by a computer. The influences of Grandbrothers prevail sometimes on pop and playful compositions, sometimes on pieces frankly electro.
Enregistrant son chant dans une loopstation, il superpose des couches de sons instrumentaux, et notamment de cor des Alpes. The epitome of the beatbox scene, Arthur Henry produces a percussive electro-hip hop, from which delicate notes escape. Recording his song in a loopstation, he superimposes layers of instrumental sounds, including Alpine horn. Tinged with a strange melancholy, their melodies evoke a generation bathed in the media flow and radioactive waste.
Schnellertollermeier: Andi Schnellmann bass , Manuel Troller guitar and David Meier drums , deliver a psyche-experimental without compromise. The band oscillates between minimal and raw rock, in spangled nuances.
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The concert was followed by a jam session open to all musicians. Celebration of the International Jazz Day in Paris with jazz events in all jazz clubs in and around Paris. Masterclasses, Jazz Talk, free entry concerts will be announced soon. The main purpose will be to explain how African and Caribbean musics founded and constituted several elements of Jazz. They also participate fully to the reinvention of contemporary jazz.
Berber music. Masterclass held in French. Contact: Mathilde B. Dhafer Youssef is an acclaimed Oud player and vocalist whose music connects jazz with the traditional sounds of the Mediterranean and his North African home. Flute played: S. Rachaninov, G. By chance! A very unique event featuring The Drops playing at the New Morning, a famous venue in Paris that has hosted major artists over the years. The concert featured two special world-class guests.
Event is free. Jazz musicians and singers need only show up. For many years, Ralph Lavital and Laurent Coq have produced both personal and familiar music across several discs. With BWA, they share the whole leadership by signing a collection of compositions and original texts that put the voice in the spotlight.
Judi Silvano has always been an adventurous jazz singer, even when she is exploring standards. Lessons Learned features Ms. Silvano not only as a singer but as a composer who wrote all ten songs, both the music and the words. For the project, the singer leads the Zephyr Band and her use of two guitarists with contrasting sounds is inspiring and the bass clarinet adds to the atmosphere.
Program : Jazz History, Music : listening and playing. Speaker : Cate Petit. With friendly musical complicity, the Bare Necessities Quintet took an energetic look, current but also candid and jovial — with all the precision jazz requires — at the musics that framed their childhoods and those of generations to come. A legend in quintet, do not miss it!
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Paris Downtown Big Band is a formation of students, teachers, and parents from the Academy Mozart of Paris within the network Parisians academies. On April 26, a conference is proposed by Paris Jazz Club to the City hall of the 1st arrondissement around the current issue of the place of women in jazz. Jazz historian Anne Legrand and saxophonist Sophie Alour will share their points of view on these necessary issues in an environment that is constantly evolving socially and musically.
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