1The Bouille d'Heidi is one of the french speaking Switzerland's most interesting collective adventure of improvised music since a decade. For its musical commitment, for its alternative initiatives, its humanist generosity, its peculiar atmospheres, the Bouillie is worth eulogy. «The Bouillie makes «schlip», «schloup», «schlam». But when you plunge it in a musical nitroglycerine, that you pull fried underground fragments out, the noise grows louder and eventually becomes dense, then furious, then gets you high. This improvisation adventure « The Bouillie d'Heidi » makes it tough for the most sensitive ears, doesn't rub Heidi the right way up but rubs you in the end all over indeed. A projects which brings the jazz planet's over-subtle notes makers to light. 2 Studer and his clarinettist mate Lucien Dubuis have more accomplished for the beaming of improvised music in Switzerland than thousands of Bern's subsidies in exportation... "
1Alexandre Caldara, l’Express 2Arnaud Robert, Le Temps
The Bouillie d’Heidi:
Created in 2005, « La Bouillie d’Heidi » is an international collective. Several dozens of improvisers have accepted to serve the ideas of Christophe Studer. Several dozens of improvisers have agreed to serve the ideas of pianist Christophe Studer. La Bouillie d’Heidi is a laboratory of research and composition which evolves figuratively through various projects, conceived to exist for 10 years, fading in 2015. It consists of 8 different and complementary musical subprojects.
The band is supported with its creations by guests, many of whom have not benefited from any musical education, and serves as an ambassador for the provision of free music. Within minutes, choruses, brass bands or orchestras adapt according to the description suggested by the Swiss musician.
It is on the stage that the magic takes place, where the human and social vocation of his compositions appears.
La Bouillie d’Heidi” creates a popular vector of Swiss culture, while developing its sessions around rough and sometimes painful music. By proposing a deviant and iconoclastic discourse, it invites a basic reflection on atheism and the importance of the contemporary musical phenomenon.
Its challenge is to advance a social vector throughout the world between 2005 and 2015. One decade of coming together, of improvisation, of investment in free music.
