Kaze

Les membres de ce quartet international, créé en 2010, partagent un appétit insatiable pour l’expérimentation sonore, une énergie et un enthousiasme débordants. Mélodique, abstrait, mystérieux, beau, audacieux, Kaze délivre un free jazz créatif et puissant.

Le groupe se décline en plusieurs projets avec différentes collaborations et configurations. Retrouvez-les sur cette page, ci -dessous.

Kaze & Ikue Mori

Guest Star

Le quartet international Kaze, rencontre la pionnière du laptop Ikue Mori, et la fusion s’avère très naturelle et ne produit aucun déséquilibre. Célèbre improvisatrice, Ikue Mori a été une évidence pour les membres du quartet de base lorsqu’il s’agissait d’inviter une cinquième personne pour le festival Sons d’Hiver à Paris en janvier 2020.

Un lien intuitif fort les réunit autour de nombreuses séquences d’improvisations : les petits détails subtils, les timbres qui changent rapidement et la facilité avec laquelle tout le monde interagit indiquent un groupe dont chaque membre se consacre de manière désintéressée à la création d’improvisations vivantes et organiques. Chaque membre de Kaze apporte ses compositions qui fournissent un cadre pour les solos individuels ainsi que pour l’interaction collective. Leur maîtrise de techniques étendues sur leurs instruments respectifs fait qu’il est souvent difficile de dire si un son est acoustique ou électronique.

Retrouvez leur performance au Festival Sons d’Hiver #29 mise à l’honneur par France Musique.

Satoko Fujii (piano), Ikue Mori (laptop), Peter Orins (batterie), Christian Pruvost (trompette), Natsuki Tamura (trompette)

Trouble Kaze

Triple duo

Les membres de Kaze aiment à multiplier les rencontres et les collaborations. Aimant jouer sur le doublement des timbres et les ambiguïtés sonores, comme c’est le cas déjà avec les 2 trompettes, très vite est venue l’envie de doubler chaque instrument. En faisant appel à deux acteurs incontournables de la scène improvisée européenne que sont Sophie Agnel et Didier Lasserre est donc né un double trio, un triple duo... Trouble Kaze.

Natsuki Tamura (trompette), Christian Pruvost (trompette), Satoko Fujii (piano), Sophie Agnel (piano), Didier Lasserre (batterie), Peter Orins (batterie)

Presse

Another superb jazz-qua-jazz concert was played by the Japanese/French quartet Kaze. Pianist Satoko Fujii was a real surprise – her monstrous keyboard technique uses every inch of available space to create a harmonic and textural framework for the other players, trumpeters Natsuki Tamura and Christian Pruvost, plus drummer Peter Orins. The dynamics were defined by a great mix of quiet extended technique weirdness and free blowing passages that emphasised the unusual qualities of the line-up. Never heard anything quite like it, and their new disc Uminari (Circum-Libra) is excellent.
(About Kaze at FIMAV 2015) – Byron Coley, The Wire

From another double-up angle, the rarely heard sound of two trumpets collaborating, interweaving and cross-talking is at the center of the group Kaze, whose penultimate set of the festival was also one of the high points of the overall program. Japanese pianist Satoko Fujii and her husband, trumpeter Natsuki Tamura, teamed up with musicians from Lille, France—trumpeter Christian Pruvost and drummer Peter Orins—five years ago, and formed this unique, bass-less quartet. The quartet has honed a strong distinctive group sound over the course of three albums, and at FIMAV, the set list slalomed from structured parts to an increasingly free-spirited abandon, as the musicians felt freer than usual to dispense with rules of conduct or even standard practice on their instruments. For the record, they did navigate a few chord changes, here and there, on the way “out”.
(About Kaze at FIMAV 2015) – Josef Woodard, Downbeat

This year’s edition of Victoriaville was perhaps the strongest I have attended—this was my fifteenth FIMAV in a row—and Sunday’s performance by Kaze, the quartet of pianist Satoko Fujii, trumpeters Natsuki Tamura and Christian Pruvost, and drummer Peter Orins was my favorite of the concerts presented this year. As impressive as the music itself and the musical techniques, particularly the extended techniques of Tamura and Pruvost, was the control over the very sound of the instruments and the way the air moved in the room. Fujii’s piano playing was impressive, and Orin’s colorings were in perfect synch with her. Not only that, but the music was really quite humorous, Tamura letting out his comedic side with a section employing small instruments, including a pig squeeze toy that he used to great effect—the effect in aid of the music, and not as a side dish or gimmick.
(About Kaze at FIMAV 2015) – Mike Chamberlain, All About Jazz

This was fantastic jazz at its most exciting !
(About Kaze at FIMAV 2015) – Byron Coley, exclaim.ca

Intense and playful, down-to-earth and international, Kaze communicates in a musical language of contrasts and continuity.
Virginia Schaefer, JazzTimes

Their debut CD, recorded live in Krakow, Poland and released in July 2011, earned rave reviews :

“Five stars : An expansive set… captivating and in some instances, mind-bending pieces, sans any limiting factors.” – Glenn Astarita, Jazz Review

“An incredibly rich listening experience… stands on its own, redefines listening to music, redefines genres, redefines playing music.” – Stef Gijssels, Free Jazz Blog

“9 out of 10. Peter Orins and Pruvost create an explosive sound with the couple that’s also impressive in its movement… Can’t come more recommended.” – John Garratt, Pop Matters

“’Noise Chopin’ honors the bicentennial of the Polish composer’s birth with a work that progresses from raw trumpet noise to a rollicking composition driven by Orins’ trap kit.” — Mike Shanley, JazzTimes

“Fujii fans will enjoy listening to the navigation of mood and atmosphere (and also to how Pruvost’s clarion lines contrast splendidly with Tamura’s comparable raunch).” – Jason Bivins, Paris Transatlantic Magazine

“For musicians getting good collaborators means a lot. It is like a getting the best friends in life.” — Satoko Fujii

"…twists and turns, noise followed by lyrical beauty ; nuanced percussion followed by powerhouse drumming ; and wild cacophonies that lead into introspective solo slots. Expect the unexpected.” – Dan McClenaghan, All About Jazz