Paradoxically, S-Clave (esclave means slave in French) is a free album; obvious, shiny and generous, it resembles a journey between different musical spaces, in which diverse backgrounds and layers mix into something divinely unique that literally sounds like pure joy. Through the music and clave, the listener starts his own inner dance in a creative and stimulating way. A colorful and wavy album, bouncy and melodic at the same time, that reflects the real pleasure of playing together.

The first of two basic ideas underlying this album is the clavification process which allows the switch from complex un-claved rhythms to claved rhythms. This process is illustrated in the opening Countdown track where a rhythmic pattern made of decreasing lengths (7-6-5-4-3-2-1) generates both a short and groovy clave on which the improvisation is frolicking, and a long clave ("super-clave") leading to a rhythmic climax. The process of clavification is then taken upsideédown in the track J'ai Froid; the piece is entirely built on clavic changes, until the final where we find an equilibrium on a 4-time groove. Back 2 Bach, our interpretation of a Bach standard from the "Really"-Tempered Clavier, is another piece in which the clavification process is explored. We use a time signature in 4 to respect Bach's temperament but combine it with a mix of influences from other eras and rhythms, such as in the funky-groovy opening.

The second underlying idea is the enhancement of the traditional 2-3 counterpart of the afro-Brazilian clave, transforming the linear tempo itself into another clave. And by unfolding the 2-3 afro-Brazilian clave over it, we get poly-claves in Del Mundo and a meta-clave in La gnose du Gnowê with the ancient clave notation 3(2) 3(1) 3(3).

Finally, in the deepest tradition of the Clavistan's Lake region, a lovely and fixed cyclical clave builds the piece's Clavicule. This allows us to consolidate the skeleton of the album with the piece 100 personnes, a slow&-clave tribute to the always moving input-ouput of Ô-liostére musicianships and to the sub-region Titicaca Lakes. The result: a healthy body of jazzy goodness that will make you yearn for more.

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Bass: Ahmed Ossama (2-7), YéYé Toon (1)
Clave: YéYé Toon (7)
Congas: Lionel Feugère (2,4)
Drums: Lionel Feugère
Flute: Stéphanie Morland
Güiro: YéYé Toon (1)
Keyboard: Guillaume Mahenc
Voice: Guillaume Mahenc (1), Lionel Feugère (7), Stéphanie Morland (3,4), YéYé Toon (2-7)

Compositions: Ahmed Ossama (2,3,5,6), Lionel Feugère (1,2,5-7), Guilaume Mahenc (1,6,7), Johann Sebastian Bach (4), Stéphanie Morland (3,5), YéYé Toon (2).
Arrangements: Ahmed Ossama (4), Lionel Feugère (3,4), Guilaume Mahenc (2-4), Stéphanie Morland (2,4-7), YéYé Toon (3,4,6,7).

Mixing and recording: Marius Beirieu at Studio La Chaufferie (France)

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Painting: Sébastien Feugère
Photo: Ô-liostére
Totem: Dieu Gnowê
Artwork realization: Lionel Feugère & Olivier Chardin
Album note editing: Lady Poppy May Elizabeth Smith

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Producer: Culture Sans Visa https://www.culture-sans-visa.fr
Ô-liostére's website: https://oliostere.culture-sans-visa.fr
Ô-liostére's contact: mailto:oliostere@culture-sans-visa.fr

1. Countdown
2. Del Mundo
3. J'ai froid
4. Back 2 Bach
5. 100 Personnes
6. La gnose du Gnowe
7. Clavicule

Listen to: the entire album.

Release date: 01/26/2018
Oliostere lives in Bagneux France

Tagged as: Jazz, Funk, Electric Guitar, Flute

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