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Tikkun is a sextet from Paris that proposes an elastic composition where pieces of the collective performance and black holes of improvisation mix and merge together…

This composition is fuelled by an oriental-Judeo-Neoanderthalian material that draws its inspiration in certain secular lamentations.

Gathered around double bass player Yoram Rosilio, sextet Tikkun proposes a music where Free Jazz, New Orleans, Groove, Maghrebi and Hassidic music mix and merge.

The “Tikkun” is a complex cabalistic term linked to the healing of the world, made possible through the sound impact of Man on the World.

Two long musical pieces where writing and improvisation allow the six people from the orchestra to free the sound energies enabling the healing.

 

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        The writing of the music of Tikkun is based on a double pattern of improvisation and collective performance: Free Jazz and Sephardic liturgy - or more precisely the Jewish Maghrebi liturgy.

 

The latter, fruit of a very ancient oral transmission, shows a few specificities in addition to the complex responsorial system between the rabbi and the assembly. All the assistants follow an identical text but all perform it with a very broad freedom of interpretation. They sing at the level and speed that they choose on the moment. Each one of them is also free to add any ornements they choose and - as part of a popular practice and mainly non-professional - the scales, rhythms and the melodies blend, split or merge with one another.

To sum up, the average listener will be under the impression of being confronted with a big cacophony when in fact it is an organized one - ever changing and always renewed. This music allows a great individual liberty inside a collective production.

Why this formula for a sextet: 4 winds + double bass & drums?

First of all, the absence of a piano or any harmonic instrument meets the musical tradition of North Africa where you find melody only. Secondly, it annihilates any possible harmonic diktat and allows the creation of a musical blend based as well on audition, juxtaposition of individual voices, on coincidence as well as on collective decisions.

In Tikkun, the rhythm section is the base of creation, it sometimes impulses the flow of tension and dramatic energy, or on other occasions the emotional burden of the text - essential format for the soloists to express freely, living metaphor of the sensorial dynamism of the assembly.

The winds play alternatively the part of Hazan (principal eulogist) and that of choir members.

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