It was a passing mention on Avant Jazz News that got me to seek out François Tusques’ 1965 album, Free Jazz:
I had not previously heard of Tusques, a pianist, but he was clearly part of the “new thing” going on in the sixties, and he’d carved out something particularly engaging here.
“Description Automatique D’un Paysage Désolé” has sturdy jazzy chords, calming flute, and mysterious bass clarinet. But it’s played in a loose, wandering structure — nothing so abrupt as Ornette Coleman’s Free Jazz, but certainly something being built in the name of the new freedom. I was hooked.
Since that discovery, catching up on Tusques’ history has been quite an adventure. He is still active, it turns out, although he veered away from the wildly improvised stuff not long after Free Jazz, as noted in an All About Jazz profile.
He did release another album of the “new thing,” in 1967. Titled Le Nouveau Jazz, its improvising is more fierce than that of Free Jazz, and the compositions play a stronger role — but it lacks its predecessor’s magic. I think the more cautious approach on Free Jazz yielded more rewarding results; it had a shape, a coherent non-structure, that didn’t fully translate into a second album.
That said, Le Nouveau Jazz is still a keeper. It’s been rereleased on vinyl by a UK label called Cacophonic. Check Finders Keepers Records in the UK for information (and downloads).
A 1971 album called Intercommunal Music, released on the Shandar label, is less successful. As Clifford Allen writes in that All About Jazz article, the album was planned as a quartet session including Sunny Murray on drums. But Murray showed up late, and with a crew of friends. With rental time running out on the studio, they blasted out whatever unrehearsed sound they could. The results are fun, as you can hear on YouTube, but not particularly coherent. You can hear Tusques falling into patterns occasionally, as if trying to carve a direction for the music, but he goes unheeded.
Even as Tusques veered away from free jazz, he stuck to the revolutionary spirit. Check out this 1971 track, “Nous Allons Vous Conter,” which is soulful and rhythmic but still rings with a spirit of ’60s protests, down to the spoken rhetoric being barked out. (You’ll find it on a compilation called Mobilisation Generale.)
There’s also “Le Musichien,” probably a play on words involving chien, or “dog.” It’s a lovely, straightforward tune with piano chording drenched in that ’70s peace-and-love spirit. For me, having grown up in that era, it’s wonderfully nostalgic — although the vocals get a little questionable, and much as I love the simple chord cycle, it can be wearing over nearly 20 minutes. (This one’s available on another compilation, Freedom Jazz France.)
So, Tusques’ catalogue spans the spectrum of music inspired by the revolutionary ’60s, from outright chaos to soothing, optimistic tunefulness.
Tusques performed at Vision Festival 18 in 2013, and, as Avant Music News was noting, he’s got a new album, Le Chant du Jubjub (Improvising Beings, 2015), an experimental-leaning project with accordion, trumpet, spoken word, and song. He’s still around, and he’s still seeking.