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DIDIER MALHERBE

Jazz Rock/Fusion • France


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Didier Malherbe biography
Didier Antonin Malherbe was born in Paris in 1943. Discovering jazz as a teenager, he soon received classical training on the saxophone from a conservatory pupil. Aged 15, he began an initiation into jamming with jazz musicians. Numerous jams at prestigious jazz venues such as 'Le Caveau de la Montagne' and 'Le Chat Qui Pêche' followed in the late 50's. Meanwhile, Malherbe was attending Sorbonne university where he took an interest in philosophy and foreign languages.
In 1962, after hearing the first Ravi Shankar album, Malherbe travelled to India, where he discovered bamboo flute and spend three months trying to play one. ). Returning to France, he started taking classical flute lessons, and for the next couple of years, he played nothing but classical flute. At that time, Malherbe also formed a band with Pierre Lattès (later Gong's producer) on drums. In 1963, Malherbe travelled around Morocco, staying at a community in Tanger, playing with other hippie musicians such as guitarist Davey Graham, and absorbing elements of Arabic music. Back in France again, he began playing extensively on the free jazz circuit, while still attending university, learning sanskrit and other languages.
In the summer of 1969, Malherbe joined what was to become Gong, rehearsing and recording the material for Magick Brother. Subsequently, he was the only musician to stay in the band through its many personnel changes, leaving only after the Gazeuse! sessions, in late 1976. After Daevid Allen's departure from the band, he became Gong's joint leader with Pierre Moerlen.
After leaving Gong, he remained in contact with Pierre Moerlen, guesting at several gigs in 1977 and on the Downwind album in 1978. At the same time he formed Bloom, a band also comprising Yan Emeric (guitar), Peter Kimberley (vocals, ex-Bachdenkel), Winston Berkeley (bass) and Jean Padovani (drums). Bloom played its debut concert in November 1977 at the Fête du Parti Socialiste in Paris, sharing the stage with National Health and Daevid Allen among others. Bloom recorded an eponymous album in 1978, and toured France several times (April to June 1978 and September to November 1979). In May 1979, Malherbe jammed with National Health during the band's series of Paris concerts. During that period, he also worked with Gilli Smyth on several Mother Gong projects and tours.
The nineties have seen Malherbe work on various solo projects : Fetish (1991), Fluvius (1993), Hadouk (1995) These works see him experime...
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Buy DIDIER MALHERBE Music


Nuit D'OmbrelleNuit D'Ombrelle
Naive 2011
Audio CD$8.82
$18.79 (used)
Faton BloomFaton Bloom
Import
Voiceprint UK 2005
Audio CD$28.29
$19.99 (used)
BloomBloom
Sonopresse
Vinyl$28.98 (used)
HadoukHadouk
CD Baby 2012
Audio CD$31.41
$11.67 (used)
FluviusFluvius
Tangram 2005
Audio CD$23.21
$31.91 (used)
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DIDIER MALHERBE discography


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DIDIER MALHERBE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.42 | 3 ratings
Bloom
1979
0.00 | 0 ratings
Saxo Folies (with Armand Frydman)
1987
0.00 | 0 ratings
Faton Bloom
1987
3.00 | 1 ratings
Fetish
1990
0.00 | 0 ratings
Zeff
1992
0.00 | 0 ratings
Fluvius (with Henri Agnel, Loy Ehrlich, Shamal Maïtra)
1994
0.00 | 0 ratings
Desert Lands (with Loy Ehrlich)
1998
4.00 | 1 ratings
Hadouk (with Loy Ehrlich)
1999
3.00 | 1 ratings
Shamanimal
1999
0.00 | 0 ratings
Hadouk Now
2002
0.00 | 0 ratings
Windprints - L'Empreinte du Vent
2003
0.00 | 0 ratings
Utopies
2006
0.00 | 0 ratings
Carnets D'Asie Et D'Ailleurs (with Loy Ehrlich)
2008
0.00 | 0 ratings
Air Hadouk
2010
0.00 | 0 ratings
Nuit d'Ombrelle
2011

DIDIER MALHERBE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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DIDIER MALHERBE Reviews


Showing last 10 reviews only
 Bloom by MALHERBE,DIDIER album cover Studio Album, 1979
2.42 | 3 ratings

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Bloom
Didier Malherbe Jazz Rock/Fusion

Review by BORA

2 stars Gee, something's gone seriously wrong here.

At the time of this release, Malherbe was still contributing to the odd Gong release. His contribution there was always a highlight to my ears.

On his first solo release of barely 35 mins, he managed to alienate me. Big time! "Bloom" lacks any sense of cohesion, totally different approaches heaped together in a mere five tracks.

Brazilian Carnival for starters followed by noodlings, even prose in a language I don't understand, a bit of spirited blowing in a mediocre and rather boring Fusion context just doesn't do it or me. I am left really, really disappointed. What a waste of time and effort!! The only good thing about it that it's perversely short. I don't know what's gotten into Malherbe, but he left me feeling seriously short changed.

Regardless of musical preferences, this album goes nowhere. Barely 2.5, rounded down with some regret..

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 Hadouk (with Loy Ehrlich) by MALHERBE,DIDIER album cover Studio Album, 1999
4.00 | 1 ratings

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Hadouk (with Loy Ehrlich)
Didier Malherbe Jazz Rock/Fusion

Review by BORA

— First review of this album —
4 stars Thoughtful and elegant.

Didier Malherbe came to my attention a long time ago as the excellent sax player of Gong. Apart from my preference of jazzy approaches, I must admit that the Daevid Allen era of Gong is not among my fave releases, hence Malherbe stood out and received my sole attention there. Later he completely disappeared from my radar, but never really forgotten,

Only in recent times (and thanks to his listing on PA!) I realized that he has released numerous solo projects, often under the name of HADOUK TRIO. I choose to listen to this album as to date, it has no rating/review.

My first impression is that Malherbe and Co. display a definite interest towards Arabic music without attempting to imitate such. The choice of instruments further enhances that atmosphere. There are no spirited blowing on saxes, no jamming here as Malherbe plays flutes almost exclusively and the percussive instruments are traditional, tribal drums. All this is complemented by a double-bass that adds the jazzy feel.

This band achieves a fine balance of styles, jazzy, ethnic feel with ease. The delivery is laid back and the compositions are pleasant, relatively simple without being minimalist. Anyone familiar with the German ECM label would relate to an album like this. The odd, lighthearted, funny piece thrown in wouldn't be missed, but equally not disturbing, either.

Very far from Jazz-Rock, the term "fusion" would be more appropriate, but not as a genre. Pleasant music that one could listen to all day, every day. Short of essential, part of a Desert Island" collection, nevertheless it's mature work.

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