Tuesday, May 03, 2005

JANUARY 2006/INTERVIEW/ALAIN MION FROM CORTEX


This month Black Athena will be focusing on one of the most legendary Jazz Funk albums ever to come out of Europe, Cortex's 'Troupeau Bleu'. Recorded in the space of two days in July 1975, 'Troupeau Bleu' has become one of the most sought after LP’s for Jazz fans and beats lovers alike. Its super funky drum breaks, excellent piano parts and haunting vocals, make it sound today as freshand relevant as ever.
Black Athena caught up with Alain Mion, founding member of 'Cortex' and discussed the recording of 'Troupeau Bleu', the life of records and his current musical preferences.


“Cortex (Latin for bark) in general means the outer layer (contrast with medulla). It has different specific meanings, depending on the context.”
(Wikipedia, 2005)

As you know, the Cortex is the part of the brain that receives outside sensations. The group was receiving different 'outside sensations' let's say, and mixing them! So I think that it was a suitable name for us, but I admit this isn't really the reason that we took this name - simply the sound of the word pleased Alain Gandolfi and I!!


A record seems to have a life of its own. Once it is released it becomes an independent entity, acquires a life span of its own. How do you feel speaking about a record you made 30 years ago?

I suppose you are speaking about Troupeau Bleu, the first Cortex album?
It's difficult to speak of because I have done a lot of other musical projects since then. Throughout my career I have been looking for my own style, and I suppose that you can recognize my compositions, or my piano style from Cortex to my new band, with me on piano and strings. That's what my fans say: that I still have the same touch. So the only thing that I could say is: 'I think it's me on piano!' I recognize my passion for the groove!


When and where was 'Troupeau Bleu' recorded?

It was recorded in the summer of 1975, but the album was composed over six months prior to this. The recording took place at the Studio Damien in Boulogne Billancourt, a door to Paris City and the home of the RENAULT cars factory.


Was there a concept behind the album?

Yes, basically to try to get pleasure from playing with good friends and to give our best to the music. A bit of groove, some funk, a touch of Latin, some good pop melodies, a good part of jazz, and some swing cookin'! That was our concept.


How long did it take you to complete? Where there any tracks that were not included in the final cut of the album?

I don't remember exactly, because Cortex was performing on the scene before this album and I remember that we had already played some prestigious venues before. All the tracks are not on the records though. We have “inédits”, some done in our own studio, some second takes etc. Next Music had planned to issue the “inédits” last summer, but they didn't manage in the end.


What were the recording sessions like? Can you recall any specific incidents?

We were very anxious but at the same time, we were very proud because we had been signed so soon. At this time, we had met a lot of artists who had been waiting years and years for a producer - we'd been signed after getting in touch with 3 or 4 contacts. Also a lot of the bands that we met have not survived musically. I remember that during these sessions I said to the producer that Mary and Jeff was the hit of the album, and he said, “no, I prefer 'L'enfant samba' so they decided to issue a 45 of 'L'enfant samba'. Six months later they were obliged to change their minds and put out another 45 with Mary and Jeff on the cover and it was a hit in the clubs in France and in Germany! It was also a key signature for a private but national radio station in France!


Who were the original members of 'Cortex', including their instruments the played?

Alain Gandolfi was the co leader, drummer and author; then there was Jeff Huttner who was replaced before the first recording sessions by Jean Grevet on bass;
Mireille Dalbray and Liliane Davis (Liliane was out of town during the sessions) were on vocals and Alain Labib was on alto sax.
Jo Pucheu and JC Le Bœuf were not members, but they were also there for the recording.


How did you meet the other band members? Any interesting stories about how you met?

I first met Jeff - we met at the American Center in Paris, where I had played before with Hank Mobley and Philly Joe Jones. He was an American in Paris and looking for other musicians. I was looking myself for “new” musicians at the time and so I began to play with him and Alan Jaffe (a US guitarist). Then Alan had to go back home and we decide to take a drummer. I had played jazz before with Alain Gandolfi, years before and it was a good memory. He was looking for musicians who wanted to explore new sounds and more fusion and that's what Jeff and I were doing, so we got in touch and Cortex was born, along with a great friendship. We met Mireille and Liliane later on and finally met Alain Labib with whom I had played years before when he was only 12 years old!


What were you listening to at the time? What were your influences? Was there a sound you were striving to achieve?

We were all listening to all the new styles (Chick Corea, Herbie Hancock, Parliament, Graham Central Station etc.) and were all coming from jazz backgrounds but I was also interested in melodies and by Latin music (I love Sergio Mendes and Elis Regina).


From a stylistic point of view what is really interesting about the album is the fact that you have brought together diverse elements that co-exist comfortably in the mix. The album seems to feature romantic and avant-garde elements, side by side with really funky and pop elements. Do you agree with this statement?

That's true, and it's the best way to understand our work with Cortex, as well as my own work during my entire career. I don't want “to play like such and such”! Every time I play I'm looking for my own thing, but at the same time I don't want to forget my original influences, the roots and the groove.


'Huit Octobre 1971' has such funky drum breaks and synths that it could easily make it into a contemporary hip-hop play list, whereas 'Mary et Jeff' got a brilliant reception when aired at our most recent Black Athena clubnight. How do you feel about the fact that 'Cortex' is today as relevant as ever?

I think that when you are honest, the audience receives the truth and if you swing and groove, you are always going to be 'in'. For example look at my master Ray Charles!
'Huit Octobre 1971' is also something very special for me personally as that's the day when Mireille, (my wife) and I were married.


What projects are you currently involved with and what music has been exciting you in the past few years?

Over the past few years I have been recording in New York with Marc Johnson, Dave Binney and Tom Rainey (Alain Mion In New York) and then I was playing funky jazz and recording a very successful record 'Some Soul Food' with my trio, an American drummer called Ronnie Gardiner and the Swedish bassist Patrik Boman (two very talented musicians: they were around before the musicians of Lisa Ekdahl). Then two years ago I decided to play solo and to change my music style and try a new current, mixing church music (always!) with impressionist emotions but still with a groove (I'm too old to change that now!). Two months ago I decided to open a new show where I am now playing acoustic piano and singing with a string orchestra (without a rhythm section). I have recently found a new manager so I’m hopeful that she will be successful in promoting this show!