Perception

Perception was a French free-jazz/rock band that released two albums and a live disc between 1971 and 1974 on Futura, A.D.M.I., and Le Chant du Monde.

Members: Yochk’o Seffer (sopranino saxophone, soprano saxophone, tenor saxophone, bass clarinet, piccolo), Siegfried Kessler (piano, electric piano, clavinet), Didier Levallet (double bass), Jean My Truong (drums, percussion)

Background

Perception formed in June 1970 at Gill’s Club in Paris when double bassist Didier Levallet teamed with saxophonist Yochk’o Seffer, pianist Siegfried Kessler, and drummer Jean-My Truong.

Levallet was born July 19, 1944, in Arcy-sur-Cure and learned guitar and alto saxophone as an autodidact. He studied journalism at École supérieure de journalisme de Lille from 1963 to 1966 while taking double-bass classes at Conservatoire de Lille. Levallet moved to Paris by 1969 and played club engagements with musicians including Mal Waldron and Hank Mobley. He also played in the big band led by Claude Cagnasso, where he met Seffer. 

Seffer was born July 10, 1939, in Miskolc, Hungary, and reached France as a refugee from Hungary. He studied harmony and musical analysis with Nadia Boulanger and saxophone with Marcel Mule. Seffer attended École des Beaux-Arts in Paris, then worked in the orchestra led by Eddy Mitchell and big bands led by Claude Cagnasso and Yvan Jullien.

Kessler came from Saarbrücken, where he studied classical piano and other musical disciplines at the local conservatory. He settled in Paris in 1967 and worked with Michel Roques, Joe Henderson, Dexter Gordon, and Ted Curson.

Truong was born in Brive-la-Gaillarde and first played rock with his brother. His exposure to Art Blakey on French television sparked an interest in jazz. At about 19, he played with pianist Joachim Kühn and double bassist Jean-François Jenny-Clark, who encouraged his pro musical pursuits. 

Levallet first tried to establish a free-jazz quartet at Gill’s Club, the Marais cellar run by Odile and Gérard Terronès. The first lineup broke apart within two nights, while Truong remained for the next configuration. Levallet called Seffer from the Cagnasso circle and brought Kessler in from an acquaintance made at Le Chat qui Pêche. Seffer returned unexpectedly on the final night of the engagement. Kessler arrived late and joined Seffer, Levallet, and Truong at the keyboard. The resulting quartet continued as Perception and built performances from collective improvisation and material contributed by individual members.

Levallet used the rest of the summer to arrange concert bookings. Perception made the first official appearance at Centre Culturel Américain on rue du Dragon in Paris. Gérard Terronès subsequently offered the quartet a recording for the newly established Futura label. Perception entered the studio on Jan. 9, 1971, for the sessions that became the self-titled debut. 

Discography:

• Perception (1971)
• Perception & Friends (1973)
• Mestari (1974)

Sources

• Didier Levallet, “Perception: Sept ans de bonheur,” Frémeaux & Associés. This is the strongest source for the formation sequence. Levallet describes the Gill’s Club engagement, the failed preliminary lineup, the arrivals of Seffer and Kessler, the first official concert, and the January 1971 Futura recording. (Frémeaux & Associés)
• Jean-My Truong interview, Citizen Jazz. Truong describes his childhood percussion interest, rock groups with his brother, Art Blakey, work with Joachim Kühn and Jean-François Jenny-Clark, and Levallet recruiting him for Perception. (Citizen Jazz)
• Didier Levallet biography, Philharmonie de Paris. Gives the Arcy-sur-Cure birth date, saxophone beginnings, Lille conservatory and journalism studies, Paris career, and Perception chronology. (Philharmonie de Paris)
• Yochk’o Seffer biography, Frémeaux & Associés / Selmer. Supplies the Miskolc origin, flight from Hungary, Boulanger and Mule studies, Beaux-Arts attendance, Eddy Mitchell work, and Cagnasso connection. (Frémeaux & Associés)
• Siegfried Kessler obituary, Le Monde. Gives the Saarbrücken conservatory training, move to Paris in 1967, and early jazz work with Michel Roques and visiting American players. (Le Monde.fr)
• Souffle Continu, Perception reissue notes. Confirms the quartet personnel, Terronès connection, and Futura opportunity; the reissue includes a separate essay by Levallet. (Souffle Continue Records)
• Daniel Barbiero, “French Free Jazz Collectives: Perception.” Uses Vincent Cotro interviews with Levallet and identifies June 1970 as the formation month at Gill’s Club. (Furious)
• Jazz Hot archive, June 1971. Confirms a contemporary feature devoted to Seffer, Kessler, Truong, and Levallet shortly after the first LP. (Jazz Hot)