T.I.M.
Tomorrow is minimalist
| SELECTION JAZZ WITH 2024 |
Sortie du premier album : Automne 2025
Karoline Wallace
chant, bandes, programmation lo-fi
Inger Hannisdal
Hardinger fiddle, chant
Sébastien Palis
piano, synthétiseurs modulaires, compositions
T.I.M réunit Sébastien Palis (Papanosh, Uccelli) et deux artistes norvégiennes : Karoline Wallace, vocaliste et compositrice (Stiklinger, Lang vinter, Molecules) et Helga Myhr, hardinger fiddler et voix (Morgonrode, Andsyning).
Tomorrow Is Minimalist. Three Independant Motions. Tall, Infinite, Microscopic.
Chants folks, improvisation, variations sur l'aléatoire, la mémoire, et sa dégradation.
Des textes qui jouent avec le regard de l'enfance. La rencontre entre deux musiciennes norvégiennes de l'avant garde pour lesquelles Sébastien Palis a imaginé la musique.
L'idée de jeu sur la mémoire se traduit par une recherche de traitement sonore qui crée une image du trio acoustique : ainsi le piano traité par le modulaire enfante un reflet irréel de lui même, les apparitions lofi des bandes donnent voix à un temps révolu, les drums machines filtrées sont autant de fantômes.
L'impression persistante que le trio se dédouble, d'être incertain de la fiabilité de nos sensations.
Il y a quelque chose du trip hop de Bristol dans cette musique de chambre étrange.
T.I.M brings together Sébastien Palis (Papanosh, Uccelli) and two Norwegian artists : Karoline Wallace, vocalist and composer (Stiklinger, Lang vinter, Molecules) and Helga Myhr, hardinger fiddler and vocalist (Morgonrode, Andsyning).
Tomorrow Is Minimalist. Three Independent Motions. Tall, Infinite, Microscopic.
Folk songs, improvisation, variations on randomness, memory and its degradation.
Texts that play with the gaze of childhood. A meeting between two Norwegian musicians from the avant-garde for whom Sébastien Palis imagined the music.
The idea of playing with memory is reflected in the sound processing that creates an image of the acoustic trio: the modular piano gives birth to an unreal reflection of itself, the lofi appearances of the tapes give voice to a bygone era, the filtered drum machines are so many ghosts.
There's a lingering impression of the trio splitting into two, of being uncertain about the reliability of our sensations.
There is something of Bristol's trip hop in this strange chamber music.
" (...) I went to La Dynamo because I had seen that drummer Jim Black would play over there. But what I enjoyed far more was the trio that played before, called T.I.M, led by French pianist Sebastien Palis, with the Norwegian Hardinger fiddle player Helga Myhr and vocalist Karoline Wallace.
They had a fantastic balance between on the one hand folk influences and on the other hand nifty modern arrangements that hid beneath the surface. They used electronics in an exciting way, used sometimes jumpy melodies, and funny strange techniques.
Some fiddle solos did not have one melodic phrase, but at the same time, there was constantly this primordial feeling of folk music, somewhere a melody, a rhythm, a bass ostinato.
There was always something to create an entrance for a listener.
That, I think is perhaps the answer to the question of whether there is still a place for modern elements in nowadays music for a somewhat larger audience.
This was a concert of modern or adventurous music that I enjoyed enormously myself, but for which I could easily have invited my neighbors as well. "
Extrait du blog de Steven Kamperman (musicien néerlandais) lors de sa résidence en France en décembre 2022
FR : "Je suis allé à La Dynamo parce que j'avais vu que le batteur Jim Black jouerait là-bas. Mais ce que j'ai beaucoup plus apprécié, c'est le trio qui jouait avant, appelé T.I.M, dirigé par le pianiste français Sébastien Palis, avec la violoniste norvégienne Helga Myhr et la chanteuse Karoline Wallace.
Ils avaient un équilibre fantastique entre d'une part les influences folk et d'autre part les arrangements modernes astucieux qui se cachaient sous la surface.
Ils ont utilisé l'électronique de manière passionnante, utilisé des mélodies parfois saccadées et des techniques étranges et amusantes.
Certains solos de violon n'avaient pas une phrase mélodique, mais en même temps, il y avait constamment ce sentiment primordial de la musique folk, quelque part une mélodie, un rythme, un ostinato de basse.
Il y avait toujours quelque chose pour créer une entrée pour un auditeur.
Je pense que c'est peut-être la réponse à la question de savoir s'il y a encore une place pour des éléments modernes dans la musique d'aujourd'hui pour un public un peu plus large.
C'était un concert de musique moderne ou aventureuse que j'aimais énormément moi-même, mais pour lequel j'aurais pu facilement inviter mes voisins également. "
Ils y ont déjà joué ...
Jazzdor - Cité de la musique et de la danse à Strasbourg (67), L'Echo à Pont Audemer (27), Ecole de musique - Home Factory à Sotteville lès Rouen (76), La Dynamo à Pantin (93), Festival No Border - SMAC Plages Magnétiques à Brest (29) ...
Pour connaître les dates à venir de T.I.M, direction la page
Sébastien Palis
piano, orgue, synthétiseurs analogiques, et modulaires, mellotron, toy piano, accordéon, composition.
Aux côtés de son frère de musique, le violoniste Fred Jouhannet, il aborde les relectures, l'improvisation, la composition et le pas de côté avec bonheur. Aux côtés de Papanosh, quintet de jazz libertaire, il affirme son écriture, son jeu pianistique, et multiplie les rencontres - Roy Nathanson, Napoleon Maddox, Marc Ribot, André Minvielle, Leïla Martial, Fidel Fourneyron ... Il écrit pour ce groupe de coeur un songbook dédié à la littérature de Jim Harrison, "A Very Big Lunch" (label vibrant / Enja Records). ll entame un travail autour du collectage de voix retranscrites sur bandes magnétiques avec Uccelli #1, #2 et s'initie ainsi au synthé modulaire. En résidence depuis 10 ans au CHU de Rouen, il introduit les musiques improvisées au sein de l'établissement comme terrain d'expérimentation et de rencontres, ce avec des artistes d'horizons multiples. Il invite les deux musiciennes norvégiennes Karoline Wallace et Helga Myhr dans le trio T.I.M., pour une musique minimaliste, parfois folk, où l'électronique rencontre l'acoustique, une variation autour du regard de l'enfance, dans la lignée de la nouvelle génération incarnée par le label Hubro.
Sébastien Palis
piano, organ, analog and modular synthesizers, mellotron, toy piano, accordion, composition.
Alongside his musical brother, the violinist Fred Jouhannet, he approaches rereading, improvisation, composition and sidestepping with joy. Alongside Papanosh, a libertarian jazz quintet, he asserts his writing, his piano playing, and multiplies the encounters - Roy Nathanson, Napoleon Maddox, Marc Ribot, André Minvielle, Leïla Martial, Fidel Fourneyron... He writes for this group of heart a songbook dedicated to the literature of Jim Harrison, "A Very Big Lunch" (label vibrant / Enja Records). He is the man behind a collection of voices transcribed on magnetic tapes with Uccelli #1, #2 and thus introduced himself to the modular synth. In residence for 10 years at the Rouen University Hospital, he introduced improvised music within the establishment as a field of experimentation and encounters, with artists from multiple backgrounds. He invites the two Norwegian musicians Karoline Wallace and Helga Myhr into the trio T.I.M., for a minimalist music, sometimes folk, where electronics meet acoustics, a variation around the gaze of childhood, in line with the new generation embodied by the Hubro label.
Helga Myhr
est une violoniste « hardinger » et chanteuse, évoluant dans le domaine de la musique folklorique norvégienne et de la musique contemporaine et expérimentale. Helga Myhr joue dans plusieurs groupes et ensembles, tel que le groupe Morgonrode et en duo avec Tanja Orning. Son premier album solo, Natten veller seg ut, est sorti sur le label Motvind Records en 2019, qui a également reçu une nomination aux Spellemannprisen (équivalent des Grammy Awards norvégiens).
Helga Myhr is a hardanger fiddle player and singer, working in the field of Norwegian folk music and contemporary and experimental music. Myhr plays in several groups and ensembles, such as the band Morgonrode and in a duo together with Tanja Orning. Her first solo album, Natten veller seg ut, was released on the label Motvind Records in 2019, that also received a nomination to Spellemannprisen (the Norwegian Grammy Awards).
Karoline Wallace
est une chanteuse et compositrice norvégienne, qui se dédit au jazz et au folk. Elle est titulaire d'un diplôme en chant jazz de la Grieg Academy et d'une maîtrise en composition du RMC de Copenhague. Elle a sorti trois albums avec ses propres compositions et joue dans des projets à travers l'Europe tels que Silent Fires et Julia Strzalek.
Karoline Wallace is a Norwegian singer and composer in the jazz and folk genre. She has a bachelor's degree in jazz singing from the Grieg Academy and a master's degree in composition from RMC in Copenhagen. She has released three albums with her music and plays in projects across Europe such as Silent Fires and Julia Strzalek.
Inger Hannisdal
Born in Oslo, Norway, Inger Hannisdal started playing violin at the age of four, and grew up playing both classical and improvised music.. While growing up in Oslo’s multicultural Eastern suburbs, she was also introduced to music from the Middle East and South Asia, and after a break from her music education where she obtained a BA in Middle Eastern and Mediterranean studies at Sciences Po Paris, she went on to study Arabic music at Lebanon’s Université Antonine.
While living in Beirut, Inger was a member of the Syrian folk music group Assa’aleek الصعاليك, who became internet sensations with their new arrangements of Syrian folk songs. She also played traditional tarab music such as qudud halebiyeh and muwashahat with a number of artists and singers in Lebanon. Moving from Beirut to Paris in 2019, she continued working with both traditional and new music, releasing the album “Dounya” with Moroccan group Gnawa Youmala in 2020.
After relocating to Oslo, Inger released her debut album “North South East West” with her ensemble, which won her praise from critics and a Norwegian Grammy for composition. The album uses shared traits and similarities between Norwegian folk music and Arabic maqam as building blocks for new compositions, focusing especially on quarter-tonal melodies. Her follow up album, the violin-only solo album “Free Folk”, takes a less melody-focused, more fragmented approach to similar musical ideas, using preparations and extended techniques to break away from expectations in tonality and pitch. The record was well-received in Norwegian and international press, including a recommendation in The Guardian’s “Contemporary Album of the Month”-column.
Inger performs frequently with her ensemble, solo, and in various collaborations ranging from ad-hoc improvised music constellations to classical Arabic and Persian music. She recently made her solo debut with the Norwegian Chamber Orchestra performing her own commissioned work with the orchestra.