About my musical influences, if I had to give two names, it would be those of Charles Mingus and Sun Ra for the bridges they have been able to build between traditions, scholarly writing, technologies and improvisation.
As a student-composer, I did study Jazz Arrangement with guitarist and composer Manu Pekar.
Subsequently, I self-taught some contemporary writing techniques and at the same time immersed myself with passion in the study of traditional musics : their structures, organisation, rules, symbolic… These three main components of my sound universe led me to create the concept of Free Experimental Traditional Music *.
Over the years, I have developed a type of writing combining oral transmission, graphics and classical musical notations, applying myself to produce hybrid forms of improvisation and composition, with a constant concern for flexibility and interpenetration of forms and structures.
These considerations did lead me to invent and experiment with new tools for instantaneous collective composition. Called "Occi", these are scalable and can appear on the scores as a collection of functional symbols causing more or less precise interactions and events, or they can be freely available to musicians during the performance of the pieces.
I implemented the concept of "moving orchestration", where the Orchestra is made up of individuals, ensembles and subsets, whose roles and responsibilities are interchangeable, more or less permanent, evolving, and who can communicate and interact by signs.
Furthermore, I see my compositions as playing fields, where the changing rules depending on the themes and issues inherent in melodic, rhythmic, harmonic, symbolic, motivic materials. Each composition therefore involves variable and unique rules of construction, collaboration and improvisation.