‘In memory everything seems to happen to music’ - Tennessee Williams (The Glass Menagerie)
Etienne de la Sayette is a French musician (especially saxophone and flute), composer and producer who has been on my radar for a few years, in particular from his leadership of the Ethiopiques inspired Akalé Wubé and from a couple of releases I discovered on the Paris DJs imprint while trawling Bandcamp. With a little more digging it becomes highly apparent that Etienne is a serious musical traveller with interests in many of the sounds and rhythms of the globe. Aside from his most successful band to date (Akalé Wubé have toured their own explorations of the wonderful sounds of 60s and 70s Ethiopia just about everywhere with guests including the grandest of musicians such as African giants Manu Dibango and Mahmoud Ahmed), his other quintet Baeshi Bang focusses on the works of legendary Korean singer Bae Hong and he still finds time to score film and dance projects when not on the road.
This brings us to his admirable new album Kobugi out now on Muju Records. Written, performed and produced entirely by himself (with a few notable guests - Erik Aliana, Lansiné Diabaté, Stefano Lucchini and Racecar), Etienne’s vast travels and research and practice have enabled him to create a collection of songs that despite the many different instruments, cultural tonalities and geographical influences feels like a personal diary of a musical life unconstrained. The opener ‘Jajinmori’ is named after and inspired by a traditional Korean rhythm but played with kalimbas, guitar and shuffling percussion it has more of a Malian musical atmosphere with the song poetically led by (Yasin Bey sounding) Chicago MC Racecar. If your ears are educated to the world of music out there on other continents, it is startling to hear how much is going on yet if you have just a passing interest in hearing new things, it is just a simple pleasure to listen to. There is no MIDI or Virtual instrumentation on the LP, everything is played live, every instrument (Etienne collects vintage synths and odd instruments from across the world and you can hear many of them here) scraped, hit or blown and you can tell. This is a human record, full of warmth, emotion and playfulness. I sent Etienne a few questions…
‘Each album is different. I am more used to making records with bands and with a starting idea. This one is only my second solo album (Maputo Queens was his first). I had no concept at all at the beginning. The idea was to have fun alone in my studio, while I had a little free time in between concerts, tours, recording with bands... Playtime ! I didn't think about a full LP until I realised one day I had almost 15 finalised tracks and that was far enough to make an album. I did a small selection, a few tracks went to the recycle bin and the other ones into this new record.’
The word cinematic gets bandied around a lot when describing instrumental music but there are moments during this record when it seems appropriate. I asked Etienne whether this was on purpose or was the process of doing nearly everything on his own meant it became an extension of his moods during these spaces between recording with other bands and touring?
‘The cinematic feel is not on purpose. Actually there is nothing on purpose in this album. All was done in a very instinctive way. I switched off my brain except for a small neurone area used for playing and pushing the « Rec » button. So, as you suggest, some tracks are intimately linked to the mood and the moment... For example, one track (War Business) was done during the very heavy atmosphere of the terrorist attacks in Paris - I didn't say to myself I am gonna make a track dedicated to the victims or whatever but I was clearly upset and angry while making the music.’
I asked about whether his experience in playing and studying such a broad range of music enabled him to hear more closely the similarities between cultures...
‘Well, for sure it is very interesting and surprising to compare for example Korean and Ethiopian 6/8 beats and pentatonic scales. But I am more interested in the differences than in similarities. One thing which scares me above all is standardisation. Music all over the world is getting similar, such as food and other cultural facts (not to speak about biodiversity). We listen and eat the same thing everywhere (and most of the time it is shit)... quelle tristesse!’
Unlike his recordings with his permanent bands, Etienne has never toured his solo works, I was intrigued why and if some of these pieces would appear in one of his bands’ repertoires…
‘Kobugi, like the previous Maputo Queens LP is a solo recording experience and is not supposed to be played live. The compositions will not go in my bands’ repertoires either because those bands have their own specific repertoire (let's say specifically Ethiopian-influenced in Akalé Wubé and Korean in Baeshi Bang). But I am often asked to play live the compositions of these albums so why not create a brand new band to play all this live? It could be very funny – I even have the line-up and the name in my head. But to actually, create, lead and manage a band needs a lot of energy and time and I feel a bit lazy right now to start such a new project. But maybe later, who knows?’
Another string to Etienne’s bow is his ability to visualise his musical identity into a visual image and usually takes charge of his own record artwork but this time he worked closely with artist Ben Hito and between them they have created potentially one of the cover sleeves of 2020!
‘Well, at the beginning Muju Records had no more money to pay someone for the artwork and I decided to do it myself as I sometimes did for previous albums. Then I sent my artwork to my friend Ben Hito who is an amazing designer. Ben told me my picture was shit – and he was right - and he proposed to help to do something for me. Then we talked about the concept (the Turtle and a kind of ocean design) and Ben sent me a design. I was very disappointed actually, I really love Ben's work usually but I didn't like his proposal at all. I didn't dare tell him for a few days and finally I said Ben, I was sorry but I didn't like it... And then it became real fun. Ben has zero ego, that's why I love to work with him. He told me ‘no problem’ and he sent me around 100 pictures from a former cancelled exhibition. Three or four pictures were completely stunning to my eyes, and so we started from that. We chose the colours, the design ideas and Ben did the definitive artwork. I love it and as a lot of people do, it is very helpful to catch people and make them listen to the music inside... We plan many more collaborations with Ben – next time he will do the picture first and then I'll do the music that goes with it.’
You have travelled around the world, what cultures, sounds and music are touching you right now?
‘For around 15 years I have had two important points of attraction, which are Korea and Ethiopia and I continue to explore both musical traditions. And ... I have always been in love too with music from the Balkans and I would love to play some again. I also love Karnatik music (classical music from South India). I discovered recently Ajate and Minyo Crusaders from Japan which are great bands. And if you want to know about the sounds which have made me happy very recently - I spent a few days during lockdown learning on bamboo flute the repertoire of Max Cilla, an amazing French Indies flautist – please listen to his album ‘La Flûte des Mornes’. I also had the privilege to travel recently in amazing musical areas such as Louisiana and South Africa to name a couple, so if you ask me which cultures or music are touching me right now, finally we will go around the world!’
To wrap it up, I asked Etienne how he saw the future as an artist in this current climate and he replied with the same good-natured humour that sits deep inside some of his music...
‘As an artist right now I really don't see quite far. Maybe I will drink a glass of fresh white wine from Sancerre after I finish this interview.’
SALUT!
BUY HERE! https://mujurecords.bandcamp.com/album/kobugi
Words: Ex-Friendly (Justin Turford)