Gilles Prémel
Matrix Page
Curation & Recommendations...of and for musicians, writers, academics, painters, choreographers, filmmakers, theater directors, sound and set designers, chefs...
CURATION
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from this page:
by Title Holder
Network Node
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Name:
Gilles Prémel
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City/Place:
Paris-Bordeaux-usa
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Country:
France
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Hometown:
SANTA FE N.M
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Location & Map:
Bordeaux [open map]
Current News
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What's Up?
Playing FRIDAY ,@ the " CENTRAL DO BRAZIL" in Bordeaux con el conjunto " DIMELOTÚ" cumbia !
Life & Work
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Bio:
C U R R I C U L U M V I T A E
Gilles Premel
Franco-américain,
né le 01 septembre 1961 à Versailles.
2 rue François Rabelais
33400 Talence
0664410254
[email protected]
Instruments pratiqués : conga, bongo, timbales, bata, berimbau, timba,
repinique, pandeiro, tamborim, reco-reco, chékéré, agogo, gan,cajon
péruvien,cajon cubain, quijada, surdo, batterie , eartrainig et analyse et lecture
écriture solfège rythmique compréhension.....
autres instruments joué...(bass-guitare-choeurs)
Qualifications : Musicien percussionniste spécialisé dans la musique afro-
caribéenne, afro-brésilienne et afro-cubaine et leurs sources d'afrique de
l'ouest spécifiquement le royaume du dan ho mey.
Chercheur : travail en cours sur les cultures Yoruba, Fon, Congo…., leurs
transpositions en amérique latine et leurs métissages avec la musique
occidentale du 21 eme siecle au amériques et en europe.
Expériences et formations musicales
1972 : venice beach drum circle
1973 : santa monica california, drum school of technologie.
1975 : Conservatoire du 4eme arrondissement de Paris avec Francoise
Gagneux, spécialisation batterie et percussion comtemporaine.
1976 : Ecole du cirque Gruss département mime.
1978 : Diplôme du b.a.f.a, stage de formation avec le F.C.V.F. et le C.P.C.V. sur
les Arts visuel. (resp. de stage R.robert.
1979 : Percussions Congolaises avec Lucky ZEBILA au Centre Américain à Paris
(croisement des cultures d'Afrique).
1980 : Percussions Traditionnelles Haïtiennes et Cubaines avec John AMIRA au
Naropa Center à Boulder Colorado USA.
1982 – 84 : Percussions Afro-caribéennes avec Allan SILVA et son C.C.O
(Celestrial Comunications Orchestra) enseignera par la suite dans son institut
I.A.C.P à Paris.
1984 : Percussions Traditionnelles Brésiliennes avec Bira ALMEIDA "Mestre
accordéon" de renommé mondiale et instigateur de la Capoeira aux U.S.A. ainsi
que directeur musical et compositeur du célèbre groupe corpo santo à
Sanfransico.
1985 : Stage de Percussions Cubaines avec Jerry GONZALES (Assistant pour les
stages à Paris au centre de danse rue de Clichy)
1988-89 : Percussions Afro-cubaines avec LOS MUñEQUITOS de MATANZAS à
Matanzas, Cuba. Délégué pour le departement éthnomusicologie de st.Denis
directeur de département Daniel Chatelain.Diplôme … formation en du 3ème
cycle du CONJUNTO FOLKLORICO NACIONAL de Cuba, la Havane.
1989-90 : Percussions Cubaines avec Roger FIXI, apprentissage des tambours
Expérience dans L'enseignement Professionnel
1982 :formateurs b.a.f.a en arts et traditions populaires spécialisation
percussion afro cararibéennes au C.P.C.V. St.Prix ille de france.
1994-97 : C.I.A.M. (Centre d'Investigation et d'Activités Musicales-Bordeaux)
Professeur de Percussion Afro-cubaines et Afro-brésiliennes, instigateur du
programme de percussions latines et de son instrumentarium.
1997-2001 C.F.A.T. (Centre de Formation aux Arts Traditionnelles-Bordeaux)
Professeur de Percussions Afro-cubaines et Afro-brésiliennes et Directeur de
l'atelier de polyrythmie.
2001-2004 Conservatorio Josafat Roel pineda Lima, Pérou, résidence sur les
percussions d'origines d'Afrique de l'ouest en Amérique latine et dans les
caraïbes, leurs influences dans la musique afro-péruvienne de ce siècle.
2002-2006 : E.N.M.D.T. (Conservatoire National de Danse et Musique GABRIEL
FAURE – Angoulême) Percussion/batterie musique actuelles.
Funk-rap-jazz-jazz-rock-et ensemble Latin jazz....tous Les eleves jouait au
festival musique métisse d'Angouleme.
Professeur enseignant de Percussions Afro caribéennes et des musiques Latines
en orchestre (avec Pierre Aubert) : maintes projet musicale pour le festivale
Musique Métisse ainsi que des échanges internationale avec l'Ukraine...
et des rérsidence et passerelle avec Michel Chenuet professeur de jazz AU
C.N .R . de Poitiers.organisé par moi même sur les différentes thématique des
musique traditionelles et moderne.
2007-2008 : E.M.D Nerac atelier percussion afro-brésilienne en relation avec
E.M.D de Nerac.
2009 :FORMATEUR en percussion traditionnelles afro-latino americaine pour
une session CNFPT pour les professeur du C.N.R de BORDEAUX .
PROFESSEUR DE PERCUSSION: cours à L'I.R.E.M. rentrée 2010-2016 cours
percussion enfants et adultes débutants et avancé ainsi que les étudiants pour
la préparation du « fneijma » diplôme d'état au musiques actuelles.
Par ailleurs a ouvert un cours publique spécifique des traumas cranien et
autistiques dans le cadre de parteneriat avec « L.H.A.P.A.J »organisme
spécialisé dans les handicape moteur et psychologique.
Atelier rythmes repiquage analyse et le rapport musique d'origines afro-latines
et les musiques actuelles.
2017-2018
residence @ Santa Fe U.N.V of fine arts and music.
USA .
Session formation au polyrythmie afro latines et techniques de latéralisation.
Enregistrement et sessions vidéo de l'enregistrement en prise direct.
Cours individuelle et visualisation des systèmes par rapport au clé de voûte
rythmiques d'origine du royaume du Danhomea et de la corrélations du
nouveaux monde et de caraibes.
Un concert a eu lieu pour la finalisation de l'année universitaire de la licence.
Cette résidence était une options U.V . validé pour la licence universitaire
options musique ,danse ,littérature et département films.
Dans les formations musicales suivantes :
(World Capoeira Association). A partir de cette expérience, il créa la première
"batteria" de samba à Santa -Fé, Nuevo Mexico, U.S.A. (banda girasol.)
Directeur, de "bateria" dans plusieurs écoles de samba en France: "Axé " à
Paris, "Sarava " à Tours, "Macunaima " à Bordeaux, puis forme le groupe
"Timbalada Urbana" ensemble ethnic-métisse. –
Musicien percussionniste du groupe TUPI-NAGO Samba- Reggae Band. Ce
groupe a pris ses sources musicales dans la région de Salvador de Bahia,
bastion de la culture afro-brésilienne. Ce groupe fut parrainé par Etienne Roda-
Gil et Rémy Kolpa-Kopoul journaliste à "Libération" spécialiste sur la musique
brésilienne. Tournée européenne et première partie d'artistes brésiliens tels
que Joao Bosco, Caetano Veloso, Gilberto Gil.Puis production discographique du
groupe sous le label Mélodie Music et caramba productions. –
Musicien percussionniste du groupe ILU-YENKORI, Tambours bata et chants
dédiés au panthéon afro-cubain et yoruba ainsi qu'aux pays appartenant aux
ex-royaumes du Dahomey, (Togo, Ghana, Bénin.). Cette troupe de danseurs,
chanteurs et percussionnistes ont été parmi les premiers en France à
promouvoir les cultures de ce panthéon.grace au travail acharné de roger fixi.
Accompagnateur et formateur de la thématique Rythme et Famille, dans le
mouvement des activités Reiki en Europe (Ibiza, Cologne) et au Canada
(Vancouver). Il prend en charge l'aspect problématique du rythme dans le
contexte de la dynamique de groupe dans les stages de formation des futurs
maîtres en l'art du Reiki de Phillys lei Furumoto.
En 2000, intègre le groupe Lanaya à bordeaux. Avec un répertoire de musique
mandingue, ce groupe comptait le soliste Ousseman souma de tambour et de
danse issue du prestigieux ballet national JOLIBA. Gilles fait partie de ce
groupe, en apportant le répertoire afro-cubain et afro-brésilien à partir desquels
Lanaya evoluera vers une musique métisse. Changement marqué aussi par
l'intégration d'artistes de différentes cultures tels que, Fato Camara, Mathias
Agbokou, José Hernandez, patrice banchereau:akpon. FESTIVAL LES
AFROLATINES MAQUIZ'ART à Eymet avec dois da bossa et Mohamed Bangoura.
Plusieurs avec concerts avec MARCIA MARIA au Paradiso à AMSTERDAM ET
BANDA RIO COPACABANA et en france.
Musicien indépendant freelance : studio,conseille,maître de stage,formateur.
Accompagnateur danse :
Accompagnateur d'issikou salifou batouré de la compagnie ballet national des
super anges du bénin.
Alvin Aley dance program summer school NYC..USA
Street jazz dance studio n.m. USA
Koffi koko( benin)
vicent hari's Do (benin-afro jazz)
line de fage : free danse song
clement namoa ( ghana)
yanet santiago ( cojunto folklorico caribé)santiago de cuba y pablo
yunez(matanza) cuba.
martha galagara ( cuba)
cristiane manemgabou tambour de brazza Congo R.C.
Langues: Français Anglais (2ème langue maternelle anglais) Espagnol courant.
Discographie: " Désert Mirage ", CCO Alan Silva (Phonogramme) "Dream off the
Ground ", Future sound ensemble (Future sound ensemble) " Petit avec des
grandes oreilles ", Bill Baxter (Polydor) " Tupi nago ", Tupi nago (Mélodie Music)
Lenny LAFARGUE c.d. Roault Ficele c.d.
david borrego : elita/ bear banner studio n.m/usa
gills premel:auto prod : fusion afro jazz rap cubain : Nom dugroupe tmbalda
urbana
travail influencé avec les techniques TBF( trés basse fréquence) de
latéralisation avec le publique : autiste et trauma crânien paraplégique et «
h.a.s.d. »
Accompagnateur danse afro contemporain depuis 1980.
Contact Information
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Email:
[email protected]
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Telephone:
0033664410254
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Address:
Gilles Prémel
2 rue François Rabelais
Résidence Descartes Apt 746
33400 Talence
France
My Recordings
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Discography:
https://www.discogs.com/artist/1575994-Gilles-Premel
My Instruction
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Lessons/Workshops:
GILLES PREMEL
33800 Bordeaux France
Phone: 00/33/(0)664.41.02.54
www.myspace.com/gillespremel
E-mail: [email protected]
Musician percussionist specializing in Afro-Caribbean music, Afro-Cuban and Afro-Brazilian and African sources.
PERCUSSION INSTRUCTOR:
Instruments played: conga, bongo, timbales, bata, berimbau, timba, repinique, pandeiro, tamborim, reco-reco, chékéré, agogo, gan,Peruvian cajon Cuban cajon,quijada, surdo.drums
CURRICULUM-VITAE
French-american, born on 01 September 1961 at Versailles.
Researcher: work in progress on Yoruba, Fon, Congo percussion and their transpositions in Latin America and their interchanges with the Western world.music of the last century.
Experience and Training
1975: Conservatory 4th sector of Paris with Francoise Gagneux, specialization comtemporary drums and percussion.
1976: School Circus Gruss in the mime department .
1978: Graduated from the b.a.f.a, training with the F.C.V.F. And C.P.C.V. On the visual arts. (Resp. R.robert .)this diploma is a state diploma that enables you to work in any part of France and social structures and companys.
with children from 4 on to 17 years of age.
1979: Congolese percussion with ZEBILA Lucky at the American Center in Paris (the crossroads of cultures from Africa).
1980: Traditional Percussion from Haiti and Cuba with John AMIRA at Naropa Center in Boulder Colorado USA.
1982-84:Afro-caribean percussion for Allan sylva and his C.C.O (Celestrial Comunications Orchestra) taught thereafter in his I.A.C.P institute in Paris.
1984: Brazilian Percussion with Bira Almeida "Mestre accordion" world-renowned master and instigator of the Capoeira in the U.S.A. and musical director and composer of the famous group of San francisco corpo santo.
1985:assisting cuban percussion with Jerry GONZALES (Assistant in Paris at the center of dance rue de Clichy on his afro-cuban percussion workshop))
1988-89: Afro-cuban workshop in matanzas with LOS MUñEQUITOS of MATANZAS in Cuba. Diploma 3rd degree at the CONJUNTO FOLKLORICO Nacional de Cuba, Havana.deleguation from Paris St.Denis UN.
1988-90: Cuban Percussion with Roger FIXI, learning drums and the yoruba and Congo cycles...
Experience in Teaching
1995-98: C.I.A.M. (Center for Investigation and Activities Musicales-Bordeaux) Percussion Professor of and Afro-cubaines Afro-brésiliennes, instigator of the program of Latin percussion and its Instrumentarium.
1997-2001 C.F.A.T. (Training Center for the Arts Traditionnelles-Bordeaux) Percussion Professor of and Afro-cuban Afro-brazillian percussion classes and Director of the polyrhythmic workshop in the school.
2001-2004 Conservatorio Josafat Roel pineda Lima, Peru, percussion residency on the origins of west african repertoire in Latin America and in the Caribbean, and their influences in the music of this century in modern music.
2002-2005: E.N.M.D.T. (National Conservatory of Dance and Music GABRIEL FAURE - Angoulême) Professor teacher on Afro Caribbean percussion and Latin music in orchestras (see program this year): many music projects with the Musique Metisse MUSIC Festival
In the following groups:
- The first part at the olympia with Paul Mindi
- Jazz festival in Orléans with the C.C.O of Allan Sylva
- Developing a Bloco-Afro and samba ensemble for the Mardi Gras carnival in San Francisco invited by Bira Almeida, musician, writer, researcher and founder of W.C.A. (World Capoeira Association).
From that experience, he created the first "batteria" samba in Santa -Fé, Nuevo Mexico, U.S.A. (Banda girasol.) Director de "bateria" in several samba schools in France: "AXE" in Paris, "Sarava" in Tours, "Macunaima" in Bordeaux, and then formed the group "Timbalada Urbana" an ethnic-métisse ensemble.
- Musician percussionist with TUPI-NAGO Samba- Reggae Band. The group took its musical sources in the region of Salvador de Bahia, the bastion of Afro-Brazilian culture. The group was sponsored by Etienne Roda-Gil and Rémy Kolpa-Kopoul journalist with "Liberation" expert on Brazilian music. European Tour and the first part of Brazilian artists such as Joao Bosco, Caetano Veloso, Gilberto Gil.Puis discographic production group under the label Melody Music and caramba productions.
- Musician for ILU-YENKORI percussionist of the group, bata drums and songs dedicated to Afro-Cuban and Yoruba pantheon, as well as countries belonging to ex-royaumes of Dahomey, (Togo, Ghana, Benin.) . This group of dancers, singers and percussionists were among the first in France to promote the cultures of this panthéon.grace the hard work of fixi roger.
music instructor and trainer in the Rhythm and Family , in the Reiki mouvement and activities in Europe (Ibiza, Cologne) and Canada (Vancouver). It brings out the problematic aspect of group dynamics in the training of future teachers in the art of Reiki of Phyllis lei Furumoto.
In 2000, the Lanaya group includes Gilles Premel in bordeaux. With a Mandingo, repertoire this group included the soloist Ousseman Souma on jdembe and dance from the prestigious National Ballet JOLIBA. Gilles is part of this group, bringing the Afro-Cuban and Afro-Brazilian musical direction from which Lanaya evolved towards a Metisse music. another was marked by the integration of artists from different cultures such as, Fato Camara, Mathias Agbokou, Jose Hernandez, patrice banchereau: akpon.
festival MAQUI'ZART les afroslatines.2009-2010
recent projects and festivals has brought me to play with such recent artist such as MOHAMED BANGOURA guinee, MARCIA MARIA paris-brasil and EMILE BIAYENDA france-congo-brazzaville
will be teaching a percussion workshop in bristol this coming April 2010
Languages: French
English (2nd language)
Spanish
Discography: "Desert Mirage," CCO Alan Silva (Phonogramme)
"Dream off the Ground" Future sound set (Future sound together)
"Small with big ears," Bill Baxter (Polydor)
"Tupi nago" Tupi nago (Melody Music)
"lenny laffargue" blues-mojo
"raoult ficel" blues-mojo
percussion student programming for this years festival "les afrolatines"
Clips (more may be added)
This is a real matrix, a matrix in the original sense of the word: ˈmātriks / source / from "mater", Latin for "mother" ... inspired in El Aleph, Borges' tale in which the universe in its entirety is visible beneath a basement stairway in Buenos Aires, our Matrix conceived likewise to make perceptible the entire universe of mankind's creativity...
El Aleph P/E
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the slums of Kingston to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
Laroyê!
Thousands of crossroads (listed in the link immediately above) ... and millions of pathways, uncoiling from the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian...
...constituting a small world network. Such networks exist everywhere around us, even inside us: our brains contain small world networks. Humanity is a small world network wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
*...in conversation with Raymundo Sodré, who summed up the beautiful irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile by the dictatorship...
And thus this Matrix, a small world network wherein all creators tend to accessible proximity to all other creators, irrespective of fame, location, or the censor.
Sparrow/Pardal Roberts
Recommend somebody and you will appear on that person's page. Somebody recommends you and they will appear on your page.
Both pulled by the inexorable mathematical gravity of the small world phenomenon to within range of everybody inside.
And by logical extension, to within range of all humanity outside as well.
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze: manager, Kamasi Washington
🔗connections from Kamasi include ↓
Susan Rogers
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
🔗connections from Susan include ↓
Randy Brecker
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
🔗connections from Randy include ↓
Herbie Hancock
🔗connections from Herbie include ↓
Alfredo Rodrigues
🔗connections from Alfredo include ↓
Munir Hossn
🔗connections from Munir include ↓
Roberto Mendes
🔗connections from Roberto include ↓
Maria Bethânia
🔗connections from Maria include ↓
J. Velloso
🔗connections from J. include ↓
João do Boi ↓
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd-Webber: UK's premier cellist; brother of Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad: Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"Thanks, this is a brilliant idea!!"
—Alicia Svigals: World's premier klezmer violinist
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome: Salvador da Bahia (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
Assis Valente's (of Santo Amaro, Bahia) "Brasil Pandeiro" filmed by Betão Aguiar
Betão Aguiar
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
Replete with Brazilian greatness, but we listened to Miles Davis and Jimmy Cliff in there too; visitors are David Dye & Kim Junod for NPR/WXPN
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
This list is random, and incomplete. Reload the page for another list.