collaboration with ayse

8 04 2018





i met up with my friend ayse recently to talk about doing some more work together, and this got me reminiscing about our previous collaborations. so i thought i’d share some documents of this.


when i first contacted ayse, it was after coming across some of her performances around the theme of migration. her dance moves reminded me of energy practices like qi gong or tai chi and there was a definite vibe that i could relate to. very quickly, we found out that we had some common interests and that our practice of mindfulness, meditation as approach and creative output was highly compatible.




so merging the themes of our respective work, we spontaneously and very rapidly took this experimental work to the public.

the first instance, particularly, was visually stunning.

the communication during the performance, listening and close connection really worked.

and i was really amazed by the resulting painting created by ayse’s moves across the canvas.

the contents and ideas behind this project really work together on such an essential level, with the movement leaving a visible mark as metaphor for the deeply transforming experience of migrating to another country and culture.


the sounds, at times harsh and jarring, at time lyrical, converse closely with the other layers on the work. gradually, i started to introduce repetitive patterns played over time using circular breathing and this helped introduce a rhythm and pace for the movements, and allowed us to get deeper into the zone.




we had several practice sessions since then, and the underlying understanding and spiritual connection is of course very present.

this is something rather rare. and i am very keen on continuing this collaboration, whatever form it may take.



ayse has been writing about our project on her blog. check out her comments here.




below are a couple of videos taken of our performances. the recording is a bit rough, but still a good document of the very beginning of this collaboration.


ayse also has some videos of a practice session in a really interesting space:









impact – new release by pan y rosas discos

10 06 2017

impact cover art



is a concept album based around a simple approach: work around peripheral sounds and extended techniques, extract the most unusual and unheard from my instrument using close miking techniques.


after many years of dedicating all my attention to the saxophone, i decided to revisit some of the techniques i used when playing prepared electric guitar, this time using the strict limitation of dry acoustic guitar. the architecture of the instrument is altered using props strategically placed along the strings. the instrument sounds radically different, and placing it flat on the ground makes the physical relationship completely new.

turned percussive, harmonic contents augmented, resonance shifted, the guitar sound is barely recognisable. the conventional effects and textures are abstracted and this allows for a new range of soundscapes and dynamics. the mike positioning deliberately picks up every sound, every detail in a raw and intimate way that makes this recording unforgiving and intensely present.


in a similar way, the soprano saxophone is explored from the inside and exploded with precise positioning of mikes in order to concentrate on fragments of sounds usually unheard. for the whole of this recording, not a single note is played, nor the instrument approached in a traditional way. instead, i focus on the tiny percussive sound of keys and bursts of air around the body of the saxophone. the harmonic contents is purely structural, and modulates in microvariations according to the air flow.

another type of sound here is drawing harmonics hidden in the white noise of full blow air through the saxophone tube. the sax is mostly played without mouthpiece.

in both instances, the close miking technique takes you inside the instrument, and the spatial arrangement expands the physicality of the instruments beyond our experience of their sound, into the acousmatic listening. i strongly recommend using headphones for the full spectral and spatial experience.


the composition is full of details and sonic events carefully placed, so that the listening experience is fully immersive, very physical and quite intense at times.

as expressed above, this piece is raw and unforgiving. i made a deliberate aesthetic choice to present known instruments in a very challenging way, highlighting sounds which are mostly never heard. to this, i added some field recordings that augment the already rich palette of textures and gestures. the very tactile and sensual quality of field recordings add another dimension of sonic experience. and yet, here again, our sense of comfort is thwarted by altering recognisable natural sounds through the use of digital processing, positioning and perspective.


while in the process of making this album, i came across a documentary film about the horrors of war in the current form of colonialism. this raw and deeply upsetting revelation somehow connected to the close affect and impact i was looking for in the sounds i was creating. so i decided to add some of the devastating accounts and interviews from the film in the form of samples.


this work was made in 2011. for years i focused on being creative and producing a large amount of compositions and recordings. i am now in the process of making public some of these. so i am very pleased that the net label pan y rosas has kindly agreed to publish this one.

you can hear and download the full album from pan y rosas:










Ecart de Sons EPK

29 08 2016





henry –

hervé –






Dialogique intuitive d’un duo d’improvisateurs.

Multi-instrumentistes, ils sculptent des idiomes imaginaires de forme acoustique et électronique, à la croisée du jazz et de l’expérimental.



Ecart de Sons

documents audio:

01 [Ecole de Danse, Cazères]

02 [Club 52, Prat Bonrepeau]

03 [A.I.R., Sarrant]

04 [le caméléon, Toulouse]




Le duo Ecart de Sons offre un dialogue d’affinités musicales et poétiques de deux personnalités expérimentées dont la vocation est l’expressivité concertée.


Le parcours individuel de chaque musicien, riche de collaborations diverses est ponctué de nombreux concerts, d’enregistrements et compositions.


Le désir de parfaire ce duo prend corps au cours des années, et évolue selon la recherche de chaque musicien. Cette rencontre s’illustre dans la pratique de l’improvisation libre et des musiques intuitives et nouvelles, dont les bases convoquent: des développement jazz ou free, des idiomes imaginaires, des échos de la musique contemporaine et de l’electro-acoustique.




Documents video du duo en concert :





Henry Herteman

clavier – trombone – mélodica – sax électronique


Musicien autodidacte, auteur de texte, il est attiré par la maîtrise du langage de divers instruments: piano, clavier, trombone, mélodica, percussion, Valiha Malgache.

Une orientation marquée par les rencontres d’improvisation avec lecteurs, poètes, musiciens, danseurs, peintres, performeurs. Engagé dans les courants d’échanges spontanés, de rencontres croisées. Il revendique le concept d’improvisation libre ou compovisée et musique intuitive avec des incursions dans les climats du jazz, du rock progressif, de la musique ethnique voire contemporaine. Ne rien s’interdire est son fil conducteur.

Il participe et organise de nombreux événements sur les scènes régionales de la musique improvisée. Participe aux ateliers de l’IREA, aux Sonofages, intervient aux «Nuits de Lauzerte» dans une performance «Passages croisés». Concepteur des journées de musique intuitives, des concerts rue des fleurs.

Il sort en mai 2015 un CD solo, Roule ta Salive chez Improvising Beings. Un travail qu’il présente au théâtre du pavé.


Sur son trajet, il croise nombreux musiciens:

Didier Laserre , Nuch Werchowska, Le Fil, Grand Piac, Zoubooo, Synapsis, Gilles Dalbis, Naoto Yamagishi, Laurent Rodriguez, Heddy Boubaker




hervé perez

saxophones – shakuhachi – laptop


artiste, compositeur, improvisateur.

Participant actif sur la scène Européenne depuis 2000, en collaboration avec d’autres formes artistiques tel la danse, l’art visuel et l’écriture, il s’intéresse principalement aux modalités d’improvisation et aux relations entre musiciens, audience et environnement.

Travaille dans différentes formations de free jazz et d’improvisation libre, électroacoustique et musique contemporaine, ainsi qu’en performances solo. Il présente aussi son travail audio-visuel en installations in situ.

Il poursuis une recherche du son et sciences vibratoires d’une part, et aussi développe une approche très contemporaine de l’harmonie et de la mélodie. Inspiré de techniques anciennes de guérison et par la pratique de la méditation, il intègre science et spiritualité au sein de modalités de performance de la composition spontanée.

Le travail sur la résonance, la relation des formes vibratoires à l’architecture et au corps, la pratique du deep listening font alors partie intégrante du processus créatif qu’il chemine hors des enceintes stylistiques.




nada EPK

3 10 2014



hervé –

roger –

the duo live on opposite sides of the world and started working together through the networked music ensemble ethernet orchestra.

over the past 18 months, roger and hervé developed a strong working rapport based on common aesthetic and approach. they have become nada as a realisation of their unique collaboration.

the duo explores an area between jazz and electroacoustic music, taking influences from  scandinavian new jazz, ethnic musics from asia, and acoustic ecology… both rooted in the use of technology and in traditional forms, the music has a deep respect for space and silence.

central to nada’s improvisations are ideas of deep listening, the japanese concept of Ma and meditations on silence from buddhist traditions which gave rise to the group’s name.
while on tour in Germany in November 2014 the duo documented performance and residency research with both roger and hervé playing acoustic instruments, in the same room, for the first time. these recordings have been issued as nada’s first release ‘mirror image’, by netlabel Linear Obsessional.

nada is currently working on the release of new material which revisits electroacoustic networked improvisation.

audio documents:

01 [07’38]

02 [11’34]

03 [05’28]

04 [04’36]

05 [04’06]

06 [08’40]

edits from networked improvisations recorded ‘live’ over the internet.







roger mills

Internationally acclaimed trumpeter, composer and sound artist working in the field of experimental and improvised music and sound.
He is founder of the tele-improvisatory ensemble Ethernet Orchestra who perform to co-located and networked audiences through the Internet.
While he is now based in Sydney, Australia, Roger spent most of the 1990s in the UK recording and performing with Bristol trip hoppers Statik Sound System, and the free jazz ensemble Spaceways.
His methodology focuses on breath and extended techniques with an attention to timbre in slow evolutionary loops and drones.



hervé perez

Sound artist/composer/performer from France, now based in Sheffield, UK.
Hervé has been composing music and performing live around europe for 20 years. Playing solo and in various groups, he draws from jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.
His research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.
On the soprano saxophone, Hervé focuses on extended techniques and abstract peripheral sounds structural to the instrument as a physical resonant object. His work on alto merges traditional and jazz harmonic approaches with extended techniques and multiphonics.



technical details:


PA with speaker arrangement for true stereo output

roger –  mike + stand for trumpet / stereo out from effects via 1/4 jacks

hervé – mike + stand for sax / stereo out from laptop via 1/4 jacks / table for laptop and mixer




further links:


roger mills


hervé perez



download a pdf version of the EPK



sound and image

21 08 2014

here are some videos i made to go with saxophone recordings. i wanted to explore natural elements and landscapes, some of the things that inspire my playing and sound design. but in this case, the audio i used is completely acoustic using natural reverb. these are from my series sounding out.

some of the footage is slowed down to achieve a contemplative mood, to the extent that one is unsure whether it is a still or a moving image. on another piece, i layered water footage, experimenting with various combinations, with the idea of echoing the multiphonic techniques of the saxophone – nearly representing a visual interpretation of what sound could look like.

once again, the video pieces were edited separately and then sound (which was recorded previously) added to it. there is no intention to cut images to sound like a music video. the interaction between the two is down to chance and may appear random, if there is such a thing. however, i find such chance ‘encounters’ – moments of convergence and synchronicity – fascinating. but in the end, when bringing water and sound together, both waves, there is little risk. perhaps the mind searches for connections, recognisable patterns. and perhaps the result just happens to work…



sweet solitude [sounding out ilam church] from hervé perez on Vimeo.


setting sun [sounding out ilam church] from hervé perez on Vimeo.


wind over bealach [sounding out clachan church] from hervé perez on Vimeo.