|Louis Sclavis Quartet — Silk And Salt Melodies (2014)|
Louis Sclavis Quartet — Silk And Salt Melodies
¬• S jeho starověkými kořeny a druhotnou asociací s New Orleans a dixielandem, klarinet není často v první linii nástrojem moderního jazzu natož avantgardy. Hrstka hráčů, jako je Don Byron a Marty Ehrlich pomáhali dostat ho do popředí, ale ne příliš. V rukou Louise Sclavise basklarinet není jen prostředkem proti konformnímu myšlení; je to přístroj s velmi rozšířenými hranicemi a charakteristikami. Přítomnost Chemiraniho je dobrou volbou v synergii se Sclavisovým sklonem k prosazování globálních inspirací.
Born: 2 February 1953, Lyon, France
Location: Lyon, France
Album release: August 22th, 2014
Record Label: ECM
1. Le parfum de l'éxil 9:00
2. L'homme sud 9:22
3. L'autre rive 8:16
4. Sel et soie 7:37
5. Dance for horses 6:59
6. Des feux lointains 5:49
7. Cortege 8:41
8. Dust and dogs 5:50
9. Prato plage 1:46
ξ→ Louis Sclavis (clarinet)
ξ→ Gilles Coronado (guitar)
ξ→ Benjamin Moussay (piano, keyboard)
ξ→ Keyvan Chemirani (percussion)
¬• Leading French clarinettist-composer-improviser Louis Sclavis continues his musical adventures with Gilles Coronado and Benjamin Moussay, who contributed creatively to his Atlas Trio album Sources released by ECM in 2011. But on Silk and Salt Melodies the addition of Iranian classical percussionist Kevyan Chemirani, master of the zarb, has brought a new dimension to their world of sound.
¬• Sclavis' discography includes a number of themed projects, including powerful tributes to Rameau, painter and collage-maker Ernest Pignon-Ernest, silent filmmaker Charles Vanel and more, but with the current ensemble he has allowed himself to be guided primarily by the musical dispositions of his players to create templates for new composition. This particular combination of players clearly fires his imagination.
¬• Adventurous contemporary music, says Sclavis, can be broad enough to embrace different but complementary traditions. "Silk and Salt indicates my desire for this work to take an imaginary, nomadic, Central Asian route, but also to address the idea of emigration in world history. In this case: journeying away from and back to jazz." ¬• Traveling melodies and rhythms predominate. The changing contexts inspire some of Sclavis's finest clarinet playing, captured by producer Manfred Eicher in this recording, made in Studio La Buissonne, near Avignon, in March 2014.
¬• Silk and Salt Melodies is Louis Sclavis's tenth ECM album, following on from Rouge (recorded 1991), Acoustic Quartet (1993), Les violences de Rameau (1995/6), L'affrontement des prétendants (1999), Dans la nuit (2000), Napoli's Walls (2002), L'imparfait des langues (2005), Lost on the Way (2008), and Sources (2011).
By KARL ACKERMANN, Published: August 14, 2014 | Score: ****½
¬• Speaking of records unfit for the commuting to soccer practice, the new offering from the Louis Sclavis Quartet will likely scare the bejesus out of Little Johnny Midfielder were Mom to give it a spin on the minivan sound system. For adults, though, this is an intriguing programmatic collection of music that encourages wild fits of imaginative thinking (with or without lights dimmed and red wine in hand).
¬• Scene 1: After Dad drops the kids at soccer, picks up his illicit affair of a girlfriend, drives her to a dark motel on the outskirts of town and commences to wrestle with his guilt and conflict (not to mention the girl in question), he will smoke that post-tussle cigarette to the sound of “Le Parfum de l’exil” (“The Perfume of Exile”).
¬• Scene 2: A quiet, deserted country road, just past dusk, framed in blue and gold. A teenage girl walks quietly toward the horizon to the sounds of “L’autre rive” (“The Other Side”), pausing occasionally to peer into the dark cracks of light that bleed through the trees. As she continues to walk, apparitions begin to appear, personifying the many demons with which she struggles, even as a young woman.
¬• There’s more, but that’ll be left to your imagination.
¬• French clarinettist-composer-improviser Louis Sclavis continues his musical adventures with Gilles Coronado and Benjamin Moussay, the guitarist and keyboardist who contributed creatively to his Atlas Trio album Sources. Now Iranian classical percussionist Kevyan Chemirani, a master of the zarb or tombak, brings a new dimension to their world of sound. Adventurous contemporary music, says Sclavis, can be broad enough to embrace different but complementary traditions: “‘Silk and Salt’ indicates my desire for this work to take an imaginary, nomadic, Central Asian route, but also to address the idea of emigration in world history.” In this case: journeying away from and back to jazz. Travelling melodies and rhythms predominate. The changing contexts inspire some of Sclavis’s finest clarinet playing and some highly dynamic group interaction, all captured by producer Manfred Eicher in this recording, made in Studio La Buissonne, near Avignon, in March 2014. Silk and Salt Melodies is Louis Sclavis’s tenth ECM album, following on from Rouge (recorded 1991), Acoustic Quartet (1993), Les violences de Rameau (1995/6), L’affrontement des prétendants (1999), Dans la nuit (2000), Napoli’s Walls (2002), L’imparfait des langues (2005), Lost on the Way (2008), and Sources (2011).
¬• Sclavis’ discography includes a number of themed projects, including powerful tributes to Rameau, painter and collage-maker Ernest Pignon-Ernest, silent filmmaker Charles Vanel and more, but with the current ensemble he has allowed himself to be guided primarily by the musical dispositions of his players to create templates for new composition. This particular combination of players clearly fires his imagination. The Atlas Trio with its unorthodox instrumentation rapidly carved a space for itself at the junctions of several genres including but not limited to jazz, free improvising, chamber music, minimalism and rock. With the addition of Kevyan Chemirani, the range of reference expands greatly. A number of the new pieces take Iranian rhythms as their starting point.
¬• Kevyan is the son of leading Persian musician Djamchid Chemirani, one of the first musicians to develop possibilities for the zarb as a solo instrument. Kevyan studied with his father, and has gone on to teach the music himself, while also playing in many different formats — from classical Iranian music to pan-cultural contexts which have found him working with musicians from India, Greece, Turkey, and Spain. In jazz and improvised music he has played zarb, bendir and other drums with Albert Mangelsdorff, Michel Portal, Renaud Garcia-Fons, Sylvain Luc and more.
¬• Guitarist Gilles Coronado collaborated with Sclavis in the project Signes Exterieurs with saxophonist Matthieu Metzger and choreographer Mathilde Monnier. Recent projects have included, in addition to his own quartet, work with François Merville, whose album O mago Hermeto paid tribute to the music of Hermeto Pascoal, and collaboration with vibraphonist Benjamin Flament and bagpiper Fraser Fifield. Previous associations include his own band Urban Mood (1994/2003), Marc Ducret, Bruno Chevillon, Aka Moon, Daunik Lazro, Barre Phillips, Alain Joule, Philippe Deschepper, Benoît Delbecq, Geoffroy De Masure, Steve Argüelles, Thierry Madiot, Steve Coleman, and many others.
¬• Keyboardist Benjamin Moussay studied music in Strasbourg and Paris with pianist Hervé Sellin and bassist J-F Jenny-Clarke. He has since played with Archie Shepp, Glenn Ferris, Dave Liebman, Daniel Humair and many others. He leads his own trio, and plays in duo with singer Claudia Solal. In addition to a long line of jazz influences (including Monk, Tristano, Ellington, Herbie Hancock) and inspirations from classical music and contemporary composition (from Beethoven and Bach to Ligeti and Reich) he has also been inspired by a range of rock, pop and ambient music makers including the Velvet Underground, Radiohead, Aphex Twin and Fennesz.
¬• Lyon-born bandleader Louis Sclavis has become one of the most widely-respected jazz musicians in Europe while emphasizing his distance, geographically and metaphorically, from the jazz tradition.
¬• “It’s not uncommon for artists to shake things up by changing personnel to explore roads previously untraveled”, noted John Kelman in an All About Jazz review of Sources, “but few push themselves so relentlessly into new territory through revamped instrumentation as Louis Sclavis… Here, however, even the clarinetist’s renowned unpredictability is trumped by a collective sound like no other, one that searches for — and finds — a new paradigm of contemporary improvised chamber music.”
¬• La Marmite Infernale (1979)
¬• Ad augusta per angusta (Nato, 1981)
¬• Clarinettes (Ida Records, 1985)
¬• Workshop de Lyon : Anniversaire (Arfi, 1986)
¬• Chine (Label Bleu, 1987)
¬• Chamber Music (Ida Records, 1989)
¬• Ellington on the air (Ida Records, 1991)
¬• Rouge (ECM, 1991)
¬• Trio de Clarinettes: Live (FMP/Free Music Production, 1991, with Jacques Di Donato and Armand Angster)
¬• Acoustic Quartet (ECM, 1994)
¬• Carnets de route avec Aldo Romano et Henri Texiernote 1 (1995)
¬• Ceux qui veillent la nuit (Label Bleu, 1996)
¬• Les violences de Rameau (ECM, 1996)
¬• Danses et autres scènes (Label Bleu, 1997)
¬• L'affrontement des prétendants (ECM, 2001)
¬• Napoli's Walls (ECM, 2003)
¬• L'imparfait des langues (ECM, 2007)
¬• La moitié du monde, music for cinema and theatre (JMS, 2007)
¬• Lost on the way (ECM, 2009)
¬• Jean-Pierre Drouet / Fred Frith / Louis Sclavis — Contretemps Etc... (CD, Album) In Situ IS 244 (2011)
¬• Sources (ECM, 2012)
¬• Silk And Salt Melodies (August 20, 2014)
|Louis Sclavis Quartet — Silk And Salt Melodies (2014)|