In October 2007, our trio with Kris, Jean and myself met in Michaël Huon’s recording studio and begun spontaneously to play 42 minutes without stop but with some silences just after the red light went. We edited some noisy bits and put that on our first CD Sureau on Creative Sources, this title because my then tired voice needed “sureau” or elder tree fruit ‘s juice to be protected. Since then we perform together about twice a year, making only one date in Germany at Essen Free Festival 2009 and in some fringe concerts organized by artists like in the Werkhuys in Antwerpen, the Useum.be of poet and sculptor Peter Deprez in Ghent’s Botanic garden, Rinus De Vos for this summer 2014 Gentse Feesten or Leuven Oratorienhof in 2009. This latter gig was issued on Setola di Maiale as” the Leuven concert” with Enzo Rocco and Gianni Mimmo duet on half the CD . We recorded also concert sets in the Pianos Maene concert hall and in Michael W Huon ‘s Odeon studio in Brussels, this time with saxist Audrey Lauro.
Lawrence was a Professor in the Royal College of Music having developed electronic music and musical instruments. His ever evolving live signal processing is among the most complex system existing and his skills as technical expert in the Evan Parker Electro Acoustic Ensemble is unmissable. We did very interesting concerts as a duo and with other musicians like pianist Marjolaine Charbin, Phil Wachsmann and pianist Yoko Miura. The main task for a singer working with Lawrence’s live signal processing is to use different approaches simultaneously : to feed the system with interesting or catacteristic sounds (even a snippet), to solo like in a concerto situation, to interact with or against the processed sounds of your own vocal sound. When a third instrumentalist goes in the proceedings it becomes more complex. So this kind of performance with Lawrence is a fantastic experience improving my skills. If people love it , good ! I am considering to perform improvised music firstly as an attempt to create something and I am not fetichising “my” project. One other great experience I had was improvising frequently in 2008 with pianist Marjolaine Charbin, a strong personality sincerely searching to explore both sides of the piano, the keys and the strings and carcasse/ sound box. We begin to work on free patterns and fluid lines and this challenge makes evolve my singing as I had to meet all twists and turns from two hands and twenty fingers on a keyboard and to develop sounds inside my throat and mouth in order to match the piano frame's sonic universe. We did some gigs together and a concert with composer Dario Palermo in Norwich UEA. Dario wrote Trance : Five Stations for Voice and Electronics using my alternative techniques.
As Lawrence Casserley wanted to perform with both Yoko Miura and myself and as they had barely one gig , Yoko suggested to make a trio in the Mopomoso /Vortex in 2014. This went fine and we planned to do more in London, Oxford, Leuven and Brussels.
The duo of MouthWind (LC + JMVS) in the Foley Street 7th march 2015 was magic if I believe fellow organizer Daniel Thompson, Tom Jackson, Bened Taylor and the trio Casserley Miura Van Schouwburg stunned ourselves in Oxford : we didn't expect such marvelous and miraculous three way journey through weird sounds, polymodal piano haïkus and vocal utterances. I had the rare feeling of time stopped in heaven. It was hard for me.
Unfortunately and incredibly, Lawrence's expensive electronic gear was stolen in the Eurostar London to brussels and he returned the day after in UK without having performed the Belgian leg of the tour. Thus Yoko Miura and i played for the first time in duo in Leuven at the inviation of Kris and we did a three way sensitive conversation with Tom Jackson , plus vocal improvisor Pierre Michel Zaleski. Then in 2016 a new duo concert and a duo recording made in Paris by J-M Foussat which is one of the nicest stuff I did with an artist quite different of my own music path.
Finally, I am now practically out of business with Inaudible collective as my own ethos and involvement railed me on a different way after 30 years of sometimes hard work.
To end up :
I am also working with singers – non singers in vocal workshops based on various focus. To discover the possibilities of human voice in relationship of his / her personality and capability using basic exercises (crescendo), my phonoetry concept and off the wall proceedings. To work collectively of various sound areas from one note everchanging drones to invented languages and mouth sounds. To lead the choir with hand signs and symbols in order to create collectively ensemble an individual pieces of music. Not far from to be a therapy or a serious glimpse about the voice and the singing. My workshops were held in Brussels, Nitra in Slovakia, Budapest, Bari, Liverpool and Torino and we performed publicly.