02/09/2026
Intercommunal Free Dance Music Orchestra
Concerts à Prades Le L*z Vol, 1 + Vol. 2
Souffle Continu Records FFL 090
By Ken Waxman
https://www.jazzword.com/.../intercommunal-free-dance.../
A different sort of dance inference was expressed in 1974 By France’s Intercommunal Free Dance Music Orchestra (Souffle Continu Records FFL 090) during Concerts à Prades Le L*z Vol. 1 + Vol. 2. Led by keyboardist François Tusques an early continental Free Jazz advocate, the five-piece “orchestra” was a leftish innovation designed to meld progressive politics, so-called world and creative music with more popular forms to appeal to a larger populace. So despite seemingly revolutionary and agitprop titles, the sounds are actually syncopated not subversive and not surprisingly more danceable than doctrinaire. Additionally, unlike other more self-consciously proletarian-focused bands that mistook amateurish for authenticity, the same high musical standards apply here as in Tusques’ more (musically) progressive projects. What that means is that a tune like “On N’est Pas Chez Les Colonels”, referencing military leaders who overthrow elected government, starts at march tempo becomes a Latin-influenced foot tapper based around honky-tonk piano and French euphonium player Michel Marre’s huffs and soon adds a shouting chorus and hand clapping. Meanwhile “Chanson Pour Pierre Overney”, celebrating a French Maoist activist killed during a Renault factory protest, is as bittersweet as beat oriented with a formalist and processional grand piano emphasis, and then weaves through a sequence that contrasts note-bending melancholy breathes from Guinean soprano saxophonist Jo Maka and triumphant gutbucket blasts from Togo-born trombonist Adolphe Winkler and culminates in a group ending. Even the chant-like anti-colonialist “Un Peuple Qui En Opprime Un Autre Ne Peut Pas Etre Un Peuple Libre” get its power from keyboard slaps, tambourine shakes and hearty percussion pumps from single-named Algerian percussionist Guem as warm trombone grace notes and ripples focus a mellow lightness that floats over the tune. Elsewhere there are segues into bobbing Breton dance music and heavily percussive African rhythmic extensions – perhaps something for every taste in the early 1970s