Fables of Shwedagon (Recorded Live on May 27th, 2017 at Festival Jazz Sous Les Pommiers, Coutances) Anne Paceo

• 1 Yin Padey Thar 08:45
• 2 Every Night Has a Morning 06:18
• 3 Le Soleil, la Lune, et l'Etoile du soir 06:36
• 4 Myanmar Folk Song 06:07
• 5 Hla Thuzar 06:02
• 6 Yamona 05:38
• 7 Fables of Shwedagon 05:27
• Total Runtime 44:53

Info zu Fables of Shwedagon (Recorded Live on May 27th, 2017 at Festival Jazz Sous Les Pommiers, Coutances)

"After nearly 60 years of dictatorship, Myanmar (formerly Burma) has been all messed up since the first democratic elections in 2010 and the lifting of the embargos. Until 2010, it was almost impossible for a Burmese to leave his country, and foreign influences were perceived as a danger by the military junta. For that reason, Burmese music and culture have not been much exposed to foreign influences. The result is a unique music, whose peculiarity has been preserved for decades.

The first traces of the traditional Burmese orchestra, called Hsaing Waing, date back to the seventeenth century and its composition has never changed to this day. Originally, the Hsaing Waing was played at the court of kings or during dance performances and puppet shows.

It is composed of 5 main instruments: the Hsaing Waing (21 tuned drums positioned in a circular style, played with hands), the Maung Hzaing (36 small gongs placed horizontally and vertically, played with bass drumsticks), the Chauk Lone Pat (2 big drums and 5 small ones, tuned and played with hands), the Hne (a kind of traditional oboe) and the Si Wa (small bell and wood block).The Hsaing Waing player conducts the group, he plays the main melody, gives the starts, changes the tempos and he is also the most respected musician in the group’s hierarchy. The Maung Zaing plays the ornamentations on the melody. The Hne plays the melodies and improvises. The Chauk Lone Pat plays the rythmics and gives the callings. The Si Wa marks the tempos.

Just like in jazz, there is a part of improvisation in Burmese traditional music. The musicians are able to play the same piece several times but each time in a different way. They are also able to improvise, which turns out to be the main bridge between the two cultures.

The main difference comes down to the notion of tempo; where jazz and contemporary musics try to keep a stable and permanent tempo, Burmese music is in constant motion, it speeds up and slows down, sometimes suddenly according to the intentions.

This group creates a real bridge between Burmese traditional music and French/European music, shaping a common ground and a new meeting space between 10 musicians from various horizons, thus creating a hybrid music, both luminous and boundless."

Hein Tint, Hsaing Waing
Kyaw Soe, Maung Zaing
Htun Oo, Hne, Flute
Kyie Myint, Chauk Lone Pat
Ye Minh Thu, Si Wa
Christophe Panzani, saxophones
Pierre Perchaud, guitar
Leonardo Montana, piano
Joan Eche-Puig, double bass
Anne Paceo, drums

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