Alright, I’m gonna share some recordings with you. I’ve got 4 ready that’ll come out every 2 days. These are improvisations, not fully formed pieces yet but I like to think that sharing and getting feedback will help me move in that direction! So I’m open to all opinions and comments!
I’d also like to play with others (Didgeridoo and other instruments). To anyone interested, I’m currently between Narbonne and Béziers! 
Let’s kick off with a HexSpira in A by @colas:
Great piece Jérôme, you can tell you’re enjoying it and letting yourself be carried away by your rhythm (which by the way is really catchy, especially toward the end :))
You’ve really got me curious about what comes next 
Sumptuous sound on your HexSpira in A, a chocolate dessert for the ears. 
On the inhale you do a very guttural sound that I really like. From 2:40 onwards I also love it, those are still your inhalations but much faster? That sound is amazing (a kind of « wok ») or dry « won »?
Very nice improvisation Jérôme. Looking forward to more. 
Ah yeah, I agree with Elisabeth, the sound on that La Hexpira is awesome!
I really like your rhythms too, you’re completely invested and you’re evolving towards tempo and sound variations that build up our interest in crescendo, well done!
Thanks so much for your feedback @AAVA @Elisabeth_Blanc and @Christophe_E! It’s true that I love getting really into it 
The thing with impros is sometimes I don’t remember everything 
That said I think I’ve got both elements: there I was playing on breathing in on a 
then projecting my tongue forward like making a 
but without breathing. And the dry sound is a kind of overpressure a bit inspired by Gauthier’s kouf but different: I just send more air all at once, kind of like if I was coughing into the instrument and that’s what makes that sound which brings to mind a bass drum a bit after 2 min 40. Does that answer it?
Yeah it works, and man the effect is awesome. 
You’re starting your recording series strong… pleasantly for our ears and our enjoyment. Thanks to you.
Thanks to you @Patrick_GARBOUS
And here’s the second one. Another improvisation but this time it’s with a Chris didgeridoo <3 still in A (special shout-out to @LN ), still with a rather open bore (but less than the previous one). I’m taking all feedback
Two didgeridoos in the same key sound different and take us in different directions. It’s nothing new.
You demonstrate this with this new improvisation that’s still a pleasure to listen to.
Thanks so much for your feedback @Patrick_GARBOUS
Here’s the third and second-to-last in the series with a Hempstone in C. I found it really cool to make, but listening back I think it lacks variations. What do you think?
Lacks variations? Maybe, but pleasant to listen to.
Small note about the Hempstone: I have one in E (back then Didgeridoo Passion didn’t have any in C). It’s probably the easiest didgeridoo I’ve got to play.
I know Gauthier prefers the Hexpiras, which are trickier and can more easily expose what you’re not so good at.
That’s why during a workshop, Gauthier appreciated me bringing my HexSpira C amplitude to point out a weakness that was much less noticeable on another didgeridoo.
I really love this 3rd improvisation Jérôme.
The sound of this Hempstone Didgeridoo is different from the HexSpira but I really love Hempstones (even though I don’t have one). The Dream Drone group plays with these Didgeridoos and what they do is awesome.
Your second composition is really nice, very soft and pleasant to listen to, but in terms of variation I find it more « linear » than your composition 3, which varies different oscillating play between the « WI » bouncy effects and vocals.
If I really had to say one thing about your playing, and really it’s just for the sake of saying something ^^ it’s that it could use a bit more rhythmic phrasing and punch, for example with your "T"s or "P"s
Humm… Thanks for the feedback, I’m taking it! I think I’ll soon do some tests with something with a more structured rhythmic pattern.
In the meantime here’s the last one in the series where I had a lot of fun 
I was virtually on the train listening to you, with its Choo-Choo sounds and the pine forest whizzing by, the journey is really pleasant, it’s an old train where you can open the windows, grab a bite to eat, have a little glass of red wine, legs stretched out with your feet up on the seat opposite. 
Thanks Jérôme.
No doubt about it: in case of a SNCF strike (but that never happens in France!!), you hop straight onto Jérôme’s train.
Really cool piece, and such a great idea with the train story and its composition based on that steady rhythm with the « choo-choos » in vocals, awesome
Thanks so much for your comments! <3
Come on, I’m getting back into it!
First, a big thanks to you @LN, that shared moment with the Didg was a real pleasure and gave me a whole lot of motivation to play again! So much so that I decided to do some new recordings
Just to give you some background, I really got the urge to play the didgeridoo listening to Adèle Blanchin and I’ve always especially loved the way she uses the harmonics.
So ever since I’ve been working on that regularly and I want to share this improvisation with you. I called it « la ronde des Korrigan », it’s basically a study and a checkpoint on the harmonics. Clearly there are several technical mistakes. The idea was to get out of my comfort zone and let myself go, so it gives some flubs but overall I had a lot of fun and I enjoy listening to it so I figure it’s worth sharing.
If you feel like giving me feedback and tips I’m all ears!!! I really want to develop more upbeat proposals to balance out the meditative side and so I want to improve!
Actually, to develop the groove, would you recommend me rather The Bridge or rather At the Heart of Rhythm as a Wakademy course after The Secret of the 7 Breaths?
I really enjoyed your duo with your own reflection.
I get the impression you’re more comfortable when you do several toots in a row. I’m not offering advice here, just an observation.
Try, whether it’s on an improvisation or something else, to also play the overtone toots (toots) with low volume. Just to see what it sounds like. That way, if you can pull it off, you could place both fairly loud toots and others that are much quieter.
For the meditative aspect, a workshop with Othello RAVEZ could be useful for you. His workshops are a bit different from Gauthier’s (an extraordinary teacher) but nonetheless very interesting and worthwhile. Othello is an excellent teacher, very attentive to his students and incredibly kind.
I think you’ll get other useful advice, or even more useful advice from other forum members.
And I forgot something very important: it’s always a pleasure to listen to you.