{"product_id":"multi-artistes_mobilisation-generale-french-protest-and-spirit-jazz-1970-1976-vinyl_2013_lad","title":"MOBILISATION GENERALE (French protest and spirit jazz 1970-1976) vinyl)","description":"will save nothing. From the ruins of the old world, the children of Marx and Coca Cola arise to tear the blue and white from the tricolor flag. The air is red and music will no longer soothe manners. The work can begin. If the Stones, the Who, the Kinks or the MC5 compose the soundtrack of the revolution with Molotov singles, it was Black Americans who broke the dams during the sixties. Against traditional jazz and Western tradition, Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler, and Archie Shepp then liberated the note, exploded formats, and launched into furious improvisations that redefined a boundless territory, as spiritual as it was political. With free jazz, the sax also became a machine to destroy the established order. The Art Ensemble of Chicago, which landed in Paris in 1969 at the Théâtre du Vieux Colombier, ignited a new fuse. The quintet integrated into the traditional lineup a multitude of \"small instruments\" unearthed everywhere (from bicycle bells to wind chimes, steel drums, djembes, or vibraphones: nothing escaped them) which they used according to their inspiration. On stage, the group stood out by wearing boubous and war paint to celebrate the powers of a free and hypnotic music, in direct connection with its African roots. The meeting with the Saravah label (founded in 1965 by Pierre Barouh), then at the forefront of a world music that did not yet have a name, was obvious. Brigitte Fontaine's album Comme à la radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, sealed the union of this heir of a poetic and committed French song (Magny, Ferré, Barbara) with the voodoo jazz of the Art Ensemble of Chicago and the Arab tradition perpetuated by her companion Areski Belkacem. A UFO had just landed on the turntables of French teenagers who discovered underground culture via Actuel, Libération, Charlie Hebdo, Rock'n Folk, and a buzzing free press. A youth involved in all struggles: alongside farmers on the Larzac plateau, workers at the Lip factory, against nuclear power in Creys-Malville, the Vietnam War, the death penalty, discrimination suffered by women, homosexuals, and immigrants. Making music at 20 at the beginning of the 70s was making politics. One didn't pick up a microphone to become a rock star but to advance one's ideas. While the price of oil soared and Pompidou was concreting everywhere by developing large housing estates and \"adapting the city to the automobile,\" people took to the road to take refuge in the countryside. From communities formed across France, groups (or rather collectives) with variable geometry emerged, cheerfully mixing music, theatrical happenings, and agit prop under a good dose of acid. Utter chaos was often the norm (prog rock was the flavor of the month), but those who followed the path drawn by spiritual jazz soared to other heavens. The vehemence (even grandiloquence) of the lyrics was then carried and transcended by the finesse and inspiration of the playing. Claude François's France had never heard anything like it. Both spatial, pastoral, and tribal, the tracks gathered here make the perfect connection between a certain psychedelic heritage, Sun Ra's space jazz, and the Afro Beat that was then emerging in Lagos with Fela; they are as much incantations (the use of spoken word is recurrent), war cries, poems, as they are pamphlets. 1978. Giscard is at the helm. Punk and disco decapitate the last hippies. If blood still boils, it is already too late. The war is over, it was lost without anyone noticing, and although we still fight windmills, sometimes letting powder and lead speak in hopeless struggles (from dream to nightmare there is only one step), we know that the enchanted interlude has just closed, that the singing tomorrows are now behind us, and that we will only leave a few records to our children. The specter of a prophetic single can then re-emerge from the speakers. Brigitte Fontaine asks Areski: \"Hey, but I'm thinking of something, aren't we going to die in a minute?\"","brand":"Multi-artistes","offers":[{"title":"Default Title","offer_id":55310355890520,"sku":null,"price":23778468.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/3521381527513_d0380b00-1daf-4bf1-b43f-a376127f8672.jpg?v=1760317126","url":"https:\/\/vinyles.com\/en-us\/products\/multi-artistes_mobilisation-generale-french-protest-and-spirit-jazz-1970-1976-vinyl_2013_lad","provider":"Vinyles.com","version":"1.0","type":"link"}