Carlos Zíngaro & Jean-Marc Foussat

Galeria Zé dos Bois

Carlos Zingaro & Jean-Marc Foussat

Meeting of two figures that we could almost say are analogous in singularity and positioning in the intricate labyrinth of the most exploratory music of this continent. Two careers already long and broad in their approaches and encounters along the way, guided by a sense of obstinacy and conduct open to possibilities – it is no paradox. “Zingaro” is only one of the most pivotal artists in the creation and advancement of music made here. Founder of the mythical Plexus at the end of the 60s, responsible for the liberation of psychedelic rock in the direction of free jazz on Portuguese soil, he passed and made the hallucinatory cover of ‘Os Benefícios de um Vendido no Reino dos Bonifácios’ by Banda do Casaco already after the end of the Colonial War and has forged on violin a work between composition experimentalism and improvisation that led him to collaborate throughout these decades with musicians like Evan Parker, Anthony Braxton, Jorge Lima Barreto or Otomo Yoshihide and to compose widely for dance, theatre and cinema for works by people like Olga Roriz, Vera Mantero, Ricardo Pais or Fernando Lopes. Without concessions to hereditary and/or hierarchical barriers, he continues today in healthy activity, alongside more or less recent names of jazz and improvisation such as Marcelo dos Reis or Helena Espvall. Long life.

Slightly younger, the Franco-Algerian Jean-Marc Foussat has been breaking new ground in the fields of electronics, electroacoustics and improvisation since the mid-1970s. Musician and sound engineer – responsible for recording albums by Joe McPhee or Massacre by Bill Laswell and for labels such as Incus or Hat Hut -, Foussat made his solo debut in 1981 with ‘Abattage’, a seminal record on the French scene released on his Pyjama made up from field recordings, voices, piano, guitar and the VCS III synthesizer, which was even given a bootleg on Keith Fullerton Whitman’s Creel Pone. Master of the domains of the peculiar VCS, Foussat passed through bands like Marteau Rouge or Trash The Flash and collaborated with Jac Berrocal, Paul Lovens, Noël Akchoté or, of course, Evan Parker and continues unperturbed his way. Long life, too. BS

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