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
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.
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.
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
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.