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The Bureau de son story – A  perfect example of interactive and creative sharing.



1990.A unique musical harmony  strikes the  musicians Steve Argüelles and Benoît Delbecq when they meet at the Jazz Workshop of the Banff Centre for Arts (Canada). Argüelles, who has already a  long career behind him and who reached the pinaccle of the British jazz scene left London for Switzerland and then Paris in 1992. From then on, the duo were to meet at innumerable venues of the contemporary international musical scene.

They take part in the Hask adventure, the Parisian indocile collective which revived the contemporary jazz scene in France (from 1993 to its winding-up in 2004), performing mainly in Europe, North America and Japan. They personally participated in  more than two hundred recordings. They founded such groups as The Recyclers, Ambitronix, PianoBook, Poolplayers, or Delbecq 5 with projects and recordings that mark recent times and continue to influence and inspire musicians throughout the world.

2007. Péage Neutre, an agency specializing in multidisciplinary performances, proposes to the electroïdal jazz duo  Ambitronix formed by Argüelles/Delbecq to improvise in  public at the  MAMC of Strasbourg a soundtrack for Avram Room's film « Le fantôme qui ne revient pas » (1928). The two accomplices, constantly eager for new openings as much as aesthetic upsurges  decide to invita a foley artist working in cinema who is adventurous enough to risk playing in public. Then,  Bruno Tarrière, a sound engineer and mixer, recommends Nicolas Becker, an internationally known foley artist, whose filmography counts nearly 200 films.

This new encounter immediately brought sonor and cinematographic bliss. Urged by this frenzy, unprecedented beats, auto-samples, melodies, foleys  and extraordinary atmospheres blended together by magic: a new trio was composed, just like brilliant music is composed without a name. Post-cinematographical jazz? Picture-beat ? Kino-électro ?

In the wake of this, the three artists then started working on Catherine Bernstein's film «Asylum»(ARTE TV), on «Lebanon», a film by Samuel Maoz (Golden Lion at Venice in 2009,  distributed by MK2, showing in 2010),on an installation by Marcelline Delbecq at the late- night openings of the Louvre (oct. 2008) as well as a  recording of the trio.

2009. Stimulated to further push the impressive complementarity of their respective arts and originalities along with the keen response to this exceptional modus operandi, they decide to start Bureau de son, a unique cooperative, where the sensory aspect of sound and music is given frontplace of a rethought craftmanship.

A plunge into the numerous esthetical advances of our times, and soul-searching for every new project.

Christian Chapoton, Constance Chambers Farah and Triple Dee join them. Bureau de son is established and sets up partnership with PlushSpace, the Parisian studio belonging to  Steve Argüelles where he puts the finishing touches to the sound production of his label Plush.

2009. « Le grand collider », a film by Benoît Bourreau on texts by Olivier Cadiot is being carried out. A theatrical project is actually being developed, it will bring them together in 2011 to the actors Irène Jacob and Jérôme Kircher.  The first -performance of the trio will be  given at the Chelles theater in April 2010 in collaboration with the artist Marcelline Delbecq. An experimentation on live mutations of the MIDI protocol is actually being studied with Tom Mays, the inventor of tapemovie, an innovative application of signal inter-communication.