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Duchesne, Andre: L' Ou 'L (Les Disques Victo)


 

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Label: Les Disques Victo
Catalog ID: CD 010
Squidco Product Code: 1089

Format: CD
Condition: New
Released: 1990
Country: Canada
Packaging: Jewel Tray
Recorded live 5th Ocotber 1989 at the 7th "Festival International De Musique Actuelle De Victoriaville"


Personnel:

Andre Duchesne-voice, composer

Yves Charuest-alto saxophone

Simon Stone-baritone saxophone

Simon Dupire-bass

Claude Lamothe-cello

Remi Leclerc-drums

Claude Fradette-electric guitar

Gary Schwartz-electric guitar

Roger Boudreault-electric guitar

Michel F. Cote-electric drums, voice

Michel Dupire-percussion

Bernard Buisson-piano

Jean-Denis Levasseur-soprano saxophone

Yannick Rieu-tenor saxophone

Peter Purich-viola

Marco Mandolini-violin

Philippe Dunnigan-violin

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track listing:


1. Ouverture: Pour Piano - Pour Saxophones 6:16

2. Rigby: Je M'Etais Endormi - Rigby - Le Desert 10:38

3. Quatuor A Cordes 6:00

4. Quatuor Pour Saxophones: Les Saxophones Sauvages - Quatuor 7:10

5. Les 7 Soleils 6:42

6. Solo Pour Violoncelle: Insectes - Solo 3:54

7. Riffs: Annonceur - Riffs 8:16

8. 5/8 Pour Gitares Electriques Et Basse 4:00

9. Final: Solo Guitar Synthe - Canon 11:24

10. Epilogue 4:16
Related Categories of Interest:

May 2017
Victo
Improvised Music
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descriptions, reviews, &c.

"For the 1989 edition of the Festival International de Musique Actuelle de Victoriaville, guitarist Andre Duchesne (Conventum, Les 4 Guitaristes de l'Apocalypso-Bar) put together the most ambitious project of his career: L' Ou 'L, subtitled "Concerto for a Solitary Composer." The conceptual work (dealing with dream and reality in the life of a composer-pilot and set in a science fiction frame) called for a string quartet, a saxophone quartet, an electric guitar quartet (including Claude Fradette and Roger Boudreault of Les 4 Guitaristes de l'Apocalypso-Bar), electric bass, piano, and three percussionists. Duchesne conducted the ensemble and recited narratives that held the show together (percussionist Michel F. Cote recited also). The ten-part, 70-minute work used any of the quartets or the whole ensemble and included a solo for virtuoso cellist Claude Lamothe, who would launch a career as a rock cellist in the 1990s. The music is a lot more open than what Duchesne usually does:his contrapuntal writing is still featured (mainly on "Riffs" and "5/8 Pour Guitares Electriques et Basse," but he also draws from the chamber rock stylings of Art Zoyd and Univers Zero ("Quatuor a Cordes No. 1," parts of "Rigby") -- although not as bleak -- and free improvisation. The project lacks cohesion, as the pieces don't relate much to each other, but L' Ou 'L remains an impressive exercise (if only for its separate parts) and proved Duchesne's ability to write for a large-scale ensemble (which he would do it again for the collective Ambiances Magnetiques on Une Theorie des Ensembles). Duchesne served a treat to his fans: the last piece, "Epilogue," is actually a completely rewritten version of "Le Piege," a piece from Conventum's first LP A l'Affut d'un Complot."-Francois Couture, All Music


Artist Biographies:

"Canadian saxophonist Yves Charuest began his professional musical activities in the 1980s, playing with several Canadian musicians such as Michel Ratté, Jean Beaudet, Lisle Ellis, Jean Derome and Pierre Cartier in various bands including I Like Jazz, Evidence, Duo Charuest -Rate, Trio Michel Ratté, Wreck's Progress.

Charuest was a member of the Peter Kowald Trio (with German bassist Peter Kowald and South African drummer Louis Moholo) with whom he performed in Canada, the United States and Europe. He has performed with internationally active musicians including William Parker, John Betsch and Mathias Schubert, and has also collaborated with Canadian electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché.

Charuest works with various ensembles, including Charuest-Caloia, Still (with Nicolas Caloia and Peter Valsamis), Stir (with Caloia, Valsamis and Agustí Fernández), a quartet with Caloia, Lori Freedman and Josh Zubot, Murray Street Band and The Ratchet Orchestra. He regularly collaborates with Ellwood Epps, John Heward, Philippe Lauzier, Scott Thomson, choreographer Susanna Hood and dancer Alanna Kraaijeveld.

Charuest won the François-Marcaurelle Award at the 2015 Montreal Offspring of Jazz."

-Yves Charuest Website (translated by Google) (http://yvescharuest.net/?page_id=13)
12/13/2017

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"Initially a radio character, drummer, and composer, Michel F. Côté became a member of the collective Ambiances Magnétiques in 1988. Since that time, his activities have got encompassed free of charge improvisation along with his groupings Bruire and Klaxon Gueule, sound-art collaborations with Diane Labrosse and Christof Migone, and composing for dance, movie theater, and film. Côté was raised with rock and roll, admiring drummers like Led Zeppelin's powerhouse John Bonham and Yes/Ruler Crimson's man-of-finesse Costs Bruford. But he initial got into the music globe through radio, starting to transmit programs of innovative music in the first '80s at Montreal's community place, CIBL. In 1985, he begun to are a researcher and web host for "Chants Magnétiques" and afterwards "Musique Actuelle" at Radio-Canada, Canada's nationwide francophone radio. A music buff, he sucked in a huge selection of noises and affects, developing his drumming abilities but most of all his studio appearance. In 1988, Côté became the 8th person in Ambiances Magnétiques and documented his first recording beneath the name Bruire. An clothing of unpredictable geometry centered across the drummer, Bruire reinvented itself with each recording. Côté's evolution like a musician could be witnessed through the deconstructed pop tracks of Le Barman A Tort de Sourire (1989) towards the sensitive miniatures of Les Fleurs de Léo (1992) as well as the abstract improvised compositions on L'Âme de l'Objet (1995), a focus on in his discography. In the meantime, Côté started to create incidental music for theatre, dance, and film. This facet of his function quickly became probably the most time-consuming and commercially, aswell as artistically, practical, though it intended employed in the shadows. Since 1995 he is a regular collaborator of playwright/filmmaker Robert Lepage, composing and carrying out the music for the play Les Sept Branches de la Rivière Ota, carrying out in the theatrical cabaret Zulu Period, and composing as well as Bernard Falaise the music of his film Nô. The drummer also caused the dance troupe Carbone 14, and playwrights Wajdi Mouawad and Brigitte Haentjens. The single recording Compil Zouave culls excerpts from these different ratings. In the past due '90s, Côté created a pastime in live consumer electronics and shifted his music toward freer and more-textural pastures. A cooperation with sound designer and Avatar member Christof Migone (Vex, 1998) activated an exploration of the electro-acoustic improvisation that created in Austria and Germany at the same. This fresh vision is recorded on Muets, the next recording by his trio Klaxon Gueule (with Falaise and Alexandre St-Onge)."

-MusicianBio (https://musicianbio.org/michel-f-cote/)
12/13/2017

Have a better biography or biography source? Please Contact Us so that we can update this biography.

 
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