Alain Markusfeld -

Alain Markusfeld is a French classical/rock guitarist who released the 1970/71 Barclay folk/psych albums Le monde en étages and Le son tombé du ciel, followed by the 1977–79 symphonic instrumental trilogy Le désert noir, Platock, and Contemporus.

Background

Alain Markusfeld was born April 6, 1950, in Paris. He began two years of classical piano lessons at age six, took up acoustic guitar at fourteen, and moved to electric guitar in his mid-teens. Markusfeld played in Les Don Dièses with Bernard Besecque and later joined Les Alizés. Les Don Dièses won a band contest in Levallois.

Coluche hired Markusfeld for a two-month 1968 engagement with the cabaret ensemble La Méthode Ancienne. Markusfeld then entered the Golf Drouot circuit. Through the Paris club, he met former Les Gam’s singer Suzy Gorini, then working as Suzy Hallyday for Éditions Tutti. Hallyday arranged a demo session and an unreleased single before presenting Markusfeld to Gérard Côte at Barclay.

Le monde en étages

Alain Markusfeld released his debut album, Le monde en étages, on April 6, 1970, through Barclay.

Markusfeld wrote the seven pieces and directed the music. Bassist Jean-Claude Michaud and drummer-keyboardist Jean Schultheis form the principal rhythm section. Multi-instrumentalist Bernard Duplaix adds woodwinds. Guitarist Jean-Pierre “Rolling” Azoulay appears on “Dans la glue moyenâgeuse,” while guitarist Denis Lable plays on the first part of “La terre se dévore!” Drummer Tommy Brown replaces Schultheis on “Dans la glue moyenâgeuse.”

“Musique fatidique pour nuages fatigués” jolts from acoustic narration into a choral electric entrance, then recedes through ethereal phrases and distant piano. “Dans la glue moyenâgeuse” careens from a soft flute opening into theatrical declamation, emphatic organ, and abrupt changes between forceful slow passages and recessed faster turns. “Dors! Madère” glides on serene contours as a light female choir answers Markusfeld’s wavering delivery.

“La terre se dévore! (partie 1)” pivots through chromatic turns, guitar solos, and dense chord shifts before each acceleration meets a sudden halt. “La terre se dévore! (partie 2)” unfurls around a recurring theme before group singing enters over a more prominent keyboard part. “Les têtes molles…” undulates through recurring figures, strips down to a lone passage, then resumes beneath descending bass and piano lines. “Actualités spatio-régionales” coils around forceful declamation, spectral group cries, cavernous figures, and a brief bassoon aside.

A1. “Musique fatidique pour nuages fatigués” [Fateful Music for Tired Clouds] (3:35)
A2. “Dans la glue moyenâgeuse” [In the Medieval Glue] (5:49)
A3. “Dors! Madère” [Sleep! Madeira] (4:16)
A4. “La terre se dévore! (Partie 1)” [The Earth Devours Itself!] (3:37)

B1. “La terre se dévore! (Partie 2)” (3:26)
B2. “Les têtes molles…” [The Soft Heads…] (6:42)
B3. “Actualités spatio-régionales” [Regional Space News] (8:11)

Suzy Hallyday supervised the artistic direction through Éditions Tutti. Claude Achallé recorded the sessions under the musical direction of Markusfeld. His contemporary credits covered French chanson and rock, including the Guy Béart album La Vérité and the Zoo release I Shall Be Free.

The front cover presents a terraced tower above a barren landscape, with the album title printed in red-orange lettering.

Markusfeld promoted the album with limited club work. A trio with Michaud and Schultheis later appeared at Golf Drouot and the Gibus, followed by a set at the 1972 Fête de l’Humanité.

Le son tombé du ciel

Alain Markusfeld released his second album, Le son tombé du ciel, in 1971 on Barclay.

Markusfeld wrote all six pieces. Bassist Joël Dugrenot and drummer Géza Fenzl complete the principal trio. Producer Laurent Thibault adds electric piano to the title piece. Engineer Dominique Blanc-Francard contributes Moog and VCS 3 synthesizers to “La durée n’est pas le temps.”

“Le son tombé du ciel” simmers beneath quiet electric piano before a sudden guitar entrance starts a gradual ascent through Eastern-tinged phrases, rhythmic accelerations, and a repeated closing figure. “L’homme à la tête félée” drifts through subdued singing and lightly suspended phrases. “Jubal” grinds through a compact fuzz riff as filtered singing cuts across blunt accents.

“La durée n’est pas le temps” breaks from a rocky opening into electronic swells and tranquil delivery. “Theleme” floats through luminous pastoral passages with an improvisatory cast. “Ève” opens with wordless female singing over double bass, then bowed drones darken the second half into a sustained, uneasy passage.

A1. “Le son tombé du ciel” [The Sound That Fell from the Sky] (9:32)
A2. “L’homme à la tête fêlée” [The Man with the Cracked Head] (3:10)
A3. “Jubal” (1:43)

B1. “La durée n’est pas le temps” [Duration Is Not Time] (3:15)
B2. “Thélème” [Thelema] (4:00)
B3. “Ève” (6:00)

Markusfeld recorded the album at Strawberry Studios in the Château d’Hérouville with producer Laurent Thibault and engineer Dominique Blanc-Francard. Former Magma bassist Laurent Thibault then directed Thélème and produced the Catherine Ribeiro + Alpes album Âme debout. Blanc-Francard’s adjacent Château work included the Cœur Magique album Wakan Tanka and the self-titled Total Issue release.

Bernard Maline-Thian created the sleeve around a long-beaked bird and an oversized flower against a yellow field. He continued the association with Markusfeld on the illustrated cover for the 1972 single “L’épave.”

Pierre Kalfon used “Ève” in the film La Cravache. Barclay also issued the piece as a 1971 soundtrack single.

Compilations, Singles, and Concert Work: 1971–76

Barclay included “Dors! Madère” and an excerpt from “La terre se dévore!” on the June 1971 compilation Extra. Markusfeld also reunited with Dugrenot and Fenzl for “Iguane,” which Thélème recorded outdoors at the Château d’Hérouville for the album Puissance 13+2.

Barclay issued “L’épave” in 1972 (b/w “La Croix de Modez”). Markusfeld and Dominique Blanc-Francard directed the Strawberry session. Jean-Claude Michaud played bass, while Jean Schultheis handled drums and electric piano. Blanc-Francard added Moog synthesizer to “La Croix de Modez.”

“Le Gluemour” followed in 1973 (b/w “Le requin central”). Gilles Tinaire played electric piano on the A-side, while drummer Jean-Jacques Cirillo appeared on both tracks. RTL adopted “Le Gluemour” as the theme for the Sam Bernett program Super Club.

Markusfeld resumed studio work in 1976 at Aquarium and Studio Damiens. The recordings remained unreleased, though he presented new material at appearances in the Bilboquet.

Le désert noir

Alain Markusfeld released his third album, Le désert noir, in 1977 through Egg/Barclay.

Markusfeld composed the nine pieces and handled guitar, keyboards, harmonica, percussion, and voice. Drummer Jean-François Leroi provides the principal accompaniment. Patricia Pernoo adds voice to the title piece. Bassist Didier Alexandre and percussionist Coco Ameziane appear on “Bulgaro-Feld.”

“Le désert noir” glides through eastern-tinged acoustic guitar figures beneath sustained female backing lines. “Atlantis Rock” loops an insistent motif through repeated cycles. “Bulgaro-feld” coils around syncopated bass turns and fluid ensemble motion. “Hot Love (Musique pour l’espace et le temps perdu)” lopes through elastic accents and shifting syncopation.

A1. “Le désert noir” [The Black Desert] (5:05)
A2. “Marrakech Blues” (1:50)
A3. “Venus Theme” (2:22)
A4. “Patita Song” (2:20)
A5. “Atlantis Rock” (6:05)

B1. “Bulgaro-Feld” [Bulgarian Field] (7:45)
B2. “Hot Love (Musique pour l’espace et le temps perdu)” [Music for Lost Space and Time] (2:30)
B3. “Jupiter Forever – Part I” (1:30)
B4. “Jupiter Forever – Part II” (3:00)

Georges Bacri produced the album for Egg. The French publisher and producer also directed the contemporary label release of the Vangelis album Ignacio. Claude Achallé recorded most of the sessions at Studio Decca in Paris. Dominique Blanc-Francard recorded “Le désert noir” and “Bulgaro-Feld” at Studio Damiens, then mixed the latter piece at Aquarium.

Patrice Larue designed the cover around a desert rock formation shaped as a human profile. A small caravan crosses the lower section beneath the Egg emblem.

Egg prepared “Le désert noir” as a 1977 promotional single (b/w “Hot Love”).

Joan-Pau Verdier and Concert Work

Markusfeld joined the 1977 touring group of Occitan singer-songwriter Joan-Pau Verdier. He played electric and acoustic guitar, sang, and contributed to “Tabou le chat” and “Easy Cat Rock.” The group appeared at the Fête de l’Humanité and Théâtre de la Ville. Their concert schedule also reached the inaugural Printemps de Bourges.

Violinist Michel Ripoche formed a 1978 concert duo with Markusfeld. They appeared together at the Printemps de Bourges before further performances at the Lucernaire and Palais des Arts. Markusfeld gave a July 3 solo guitar concert at the Olympia in Paris.

Platock

Alain Markusfeld released his fourth album, Platock, in 1978 through Egg/Barclay.

Markusfeld composed and arranged all seven pieces. Patricia Pernoo adds voice, while Jean Schultheis returns on marimba and percussion. Three separate compositions occupy the first LP side. The four-part “Platock Concerto” fills the second side.

Platock circles through delicate acoustic guitar figures, brief electric eruptions, wordless singing, intense piano passages, and broad keyboard swells.

A1. “Fayava” (3:55)
A2. “L’enrouleur de galaxies” [The Galaxy Winder] (6:27)
A3. “Automne et éternité” [Autumn and Eternity] (7:22)

B1. “Platock Concerto: 1er mouvement” (4:27)
B2. “Platock Concerto: 2e mouvement” (4:50)
B3. “Platock Concerto: 3e mouvement” (4:34)
B4. “Platock Concerto: 4e mouvement” (4:48)

Bacri produced the album at Studio Decca. Markusfeld assumed artistic direction, while Achallé recorded and mixed the sessions.

Patrice Larue designed the front cover with a transparent electric guitar enclosing a city skyline above planetary terrain. His 1978 sleeve work also included the Paul Mauriat Plus album Overseas Call. Barclay photographer Alain Marouani supplied the rear portrait after credits on the Jacques Brel album Les Marquises.

Egg issued edited passages from “Fayava” and the first movement of “Platock Concerto” on a 1978 promotional single.

Contemporus

Alain Markusfeld released his fifth album, Contemporus, in 1979 through Egg/Barclay.

Markusfeld composed and arranged the nine pieces. He performed every instrumental part with synthesizers, acoustic piano, electro-acoustic guitar, organ, percussion, marimbas, and harmonicas. Patricia Pernoo supplies the only outside performance with additional voice. Five separate pieces occupy the first side, followed by the four-movement “Contemporus” sequence.

“L’âme flottante” drifts through delicate layers and a profusion of electronic effects. “Contemporus” circles a recurring figure across an extended four-part sequence.

A1. “L’oasis sous les étoiles” [The Oasis beneath the Stars] (4:10)
A2. “L’âme flottante” [The Floating Soul] (3:42)
A3. “Jazz à Casablanca” [Jazz in Casablanca] (3:04)
A4. “Fiesta Atomikâ” [Atomic Fiesta] (3:41)
A5. “Il pleut sur le troisième millénaire” [Rain Falls on the Third Millennium] (4:17)

B1. “Contemporus: 1er mouvement” (3:06)
B2. “Contemporus: 2e mouvement” (5:05)
B3. “Contemporus: 3e mouvement” (5:00)
B4. “Contemporus: 4e mouvement” (6:22)

Markusfeld shared production with Bacri. Achallé recorded and mixed the album at Studio Decca.

The front sleeve contains a surreal collage of block-like figures, masks, and mechanical forms against a sunset field. Alain Marouani supplied the rear-cover portrait.

Visa issued a 1979 US pressing through JEM. Markusfeld supported the album with Belgian appearances at Au Travers in Brussels and a Liège concert. His 1980 schedule also included the Nancy Jazz Festival.

Live

Alain Markusfeld released the double album, Live, in 1981 through Egg/Barclay.

Markusfeld recorded one complete solo concert at the Maison pour Tous de Courbevoie. He alternates piano and guitar across new material and expanded selections from Platock and Contemporus. The four LP sides preserve the sequence of the performance.

A1. “Automne à Bénodet” [Autumn in Bénodet] (4:49)
A2. “Platock I et II” [Platock I and II] (5:30)
A3. “L’été paranoïaque” [The Paranoid Summer] (5:44)

B1. “Doors in Memories” (21:27)

C1. “Jazz à Casablanca” [Jazz in Casablanca] (7:13)
C2. “L’enrouleur de galaxies” [The Galaxy Winder] (2:47)
C3. “Le vent de la nuit” [The Night Wind] (5:44)

D1. “Contemporus II” (6:49)
D2. “Contemporus III” (5:58)
D3. “Canularamel” (5:04)

Markusfeld produced the release and performed the concert alone. Achallé recorded the event at the Maison pour Tous before mixing the tapes at Studio Sysmo in Paris.

Philippe Lacomblez supplied the concert photography for the gatefold sleeve.

Later Activity

The 1982 concert schedule took Markusfeld through Brittany. Barclay issued “Les rêves de Calypso” in 1984 (b/w “Town’s Gold”). Markusfeld directed the production at Studio Acousti with engineer Alain Pype.

Markusfeld completed the ten-movement 1989–90 composition Le Fleuve. The complete work exceeds one hour and remained unpublished. Movements seven through nine later appeared on the 2012 anthology Roll Over the Eiger Trail, which combined selections from the vinyl catalog with unreleased recordings.

Markusfeld returned to album releases with the 2015 title Le cri du photon solitaire. Eight further studio titles followed through Les passagers de l’Halcyon, a thirteen-track release issued on May 21, 2026.

Discography: