{"id":119823,"date":"2024-05-27T18:14:01","date_gmt":"2024-05-27T22:14:01","guid":{"rendered":"https:\/\/panm360.com\/records\/jeremy-gignoux-odd-stillness-calgary\/"},"modified":"2024-05-27T18:16:55","modified_gmt":"2024-05-27T22:16:55","slug":"jeremy-gignoux-odd-stillness-calgary","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/jeremy-gignoux-odd-stillness-calgary\/","title":{"rendered":"Jeremy Gignoux – Odd Stillness"},"content":{"rendered":"\n

Jeremy Gignoux is a Calgary-based Frenchman. He plays violin in the city’s jazz and folk circles. After an accident that stopped him in his tracks for a while, Gignoux began to develop a totally different approach to his compositions, one of slowness and extreme economy of means. The initial principle of Odd Stillness <\/em>is indeed very sparing: a single instrument, a single note at a time and a multi-track treatment. In the end, Gignoux knitted a little around the initial premise, using duets and more than one note played by the instrumentalist in certain pieces. But, with the exception of these few incursions, the concept remains fairly faithful throughout. No pulse, just notes gently blown or strummed without haste, without aggression or excessive force. Like sighs, these notes are born and quietly disappear, superimposed or linked with others and slightly modified, thanks to the magic of multi-tracking. <\/p>\n\n\n\n

Odd Stillness<\/em> is somewhat reminiscent of Eno’s Music for Airports<\/em>, but rather in a Spaceport on Gliese 12b<\/em> version.\u00a0<\/p>\n\n\n\n

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Une publication partag\u00e9e par Jeremy Gignoux (@jeremygignouxmusician)<\/a><\/p><\/div><\/blockquote>