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And then there are the deeper cuts from Sakamoto's solo albums from the early eighties that are less famous but that nevertheless helped to expand and augment the genre. With a wildly eclectic approach in mins, theytake a varied selection of his music in a direction where free jazz meets electronics, with the sense of liberty and freedom.\u003c\/p\u003e\u003cp\u003eAsynchrone's personnel is a link-up between founders cellist Clement Petit, producer and musician Frederic Soulard (behind Jeanne Added's\u003ci\u003eVictoires De La Musique\u003c\/i\u003e-winning album), alongside clarinet\/saxophone player Hugues Mayot, flautist Delphine Joussein, pianist Manuel Peskine, and Vincent Taeger (Oumou Sangare, Tony Allen) on drums.\u003cbr\u003e\u003ci\u003ePlastic Bamboo\u003c\/i\u003eteems with vivacity and possibility, and it's a record that is future-facing rather than any kind of sombre eulogy. It seeks to continue the musical conversation now that the architect is no longer with us. 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It's play space, a locus of musical life, a poetic asylum inhabited by two duos: Ballake Sissoko (kora) and Vincent Segal (cello) on the one hand and Vincent Peirani (accordion) and Emile Parisien (sax) on the other. In the case of these magicians, 2 + 2 no longer makes 4, it makes 1. Because what they concoct is most definitely a unity of spirit, a single and fluid sound that disdains all forms of egotistical competitiveness and puts each participant at the service of a common musical good. Neither jazz, nor trad, nor chamber, nor avant-garde, but a bit of all of them, all at once, Les Egares is the kind of album that makes the ear the king of all instruments, an album where virtuosity expresses itself in the art of complicity, where the simple and grandiose idea of listening to one another results in the birth of a splendid song with four parts. 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