Experimental Music in Yukunkun

There definitely were a guitar, a trumpet and a saxophone, yet they were played differently, in a way I had never witnessed ever before. That night was the first time I attended an experimental music concert, such a concert where you get tested on all levels in terms of accepting, questioning, admiring or rejecting the tunes emanating from that bouquet of artists.

I was literally blown away and torn apart by the way that guitarist handled his instrument. Sharif Sehnaoui had the guts and experience as well to place a credit card between the threads, stick a metallic baton in between, and run a brush over them: This was too horrible for an eye to watch. This, to me, was simply my "how to ruin a good guitar in six easy steps".

Mazen Kerbaj

That poor trumpet got its share of the tearing apart and the unbelievable as well. To me, and as common as might be, a trumpet is to be handled with care, diligently played in order to arouse thy senses and expand your momentarily readiness for good music. Alas, that trumpet was dying, was literally cringing in between Mazen's lips.

Bertrand Gauguet was the Yoda of saxophones. His fingers were well placed and his body motion was well-fit for a sax master. Then was the trauma. a saxophone that managed to play basically all sorts of sounds except for the all-eternal soothing sound it is supposed to come up with.

Bertrand Gauguet

Honestly? I take it back. I take it all back. Seconds after stepping out of the Yukunkun, I and my friend Joseph shared the highest compliments on the wowing performance that took place a few moments ago, in front of a dozen or more people, came all the way to Gemmayze to witness the improvisation of three of the best performers I ever met.

I had asked Mazen for permission to snap a few shots while performing. His simple demand for behaving at my best and making the least sound while their volume is at its highest, was objected by Sharif's simple answer to be free as I wanted. Lights were ready, cooling was fixed, and Bertrand signaled the concert's start. Gemmayze was witnessing one of the most elegant forms of unusual methods to making music.

The Audience

I was first alarmed the moment Sharif had laid down his guitar on his lap. A few tools lying here and there around the performers were key to succeed with such a concert: all it took was a few simple tools, yet very intelligently picked tools, and of course knowledgeably put to work. I could distinguish a comb, a piece of a balloon, a few plastic hemispheres, etc..

A confession is due now: I was really taken somewhere else during the course of the set. If it weren't for the photography that I had to do, I would simply had closed my eyes and let that ambiance created by the improvisation emanating from three different sources, yet performing in such a harmony, take my overwhelmed mind somewhere I desperately needed to go to.

Bertrand Gauguet and Sharif Sehnaoui

It was once or twice throughout the concert that I couldn't but peak at the audience, trying to figure out whether their reaction matched mine or not. I was amazed by how everybody was so immersed; the faces were of fond people who knew well the effort put into that improvisation.

Again, can't wait for the next trio's concert; the shock should most probably be less by then.

I leave you with a stench of what happened that night..

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