Percussionist Michel F Cote takes his Mecha Fixes Clocks ensemble (Philippe Lauzier-sax, Elwood Epps-trumpet, Jean Rene-sax, Pierre-Yves Martel-feedback, Bernard Falaise-guitar, Guillaume Dostaler-piano) on a compelling audio tour of air travel.
Label: Tour de Bras
Catalog ID: TDB90006cd
Squidco Product Code: 18237
Packaging: Cardstock gatefold foldover
Recorded by Tour de Bras at Studio 270, Montreal.
Philippe Lauzier-alto saxophone, bass clarinet
Jean Rene-alto saxophone
Michel F Cote-drums, feedback, microphones
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1. insistance du vide 3:38
2. se maintenir en l'air coute que coute 1:38
3. passage des oies 3:04
4. turbulence du dimanche 3:15
5. course reflechie du vent 2:15
6. atlas des brumes 6:02
7. ostinato aerien #2 1:38
8. tout des anges 2:30
9. egalite de la resistance des ailes 2:11
10. sur le siege da cote 22F 2:35
11. au terme de l'ascension 4:10
12. petite perte d'altitude 3:33
13. ostinato aerien #1 2:03
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Michael F Cote
sample the album:
"Recorded at Coté's preferred studio, Montreal's Studio 270, Beau comme un aéroport is a suite of songs, the titles of which allude to air travel ("se maintenir en l'air coûte que coûte," "turbulence du dimanche," "au terme de l'ascension," "petite perte d'altitude"). We do not normally think of airports as beautiful, however, and the music does not seem strictly programmatic, but one can find musical analogues with air travel if one chooses to do so. The middle section of "Turbulence du dimanche," a rather tranquil piece, is dominated by a line of long notes from Epps, and Coté clattering on toms. (Perhaps Sundays are known for having very little turbulence.) "Atlas des brumes" has an African feel to the beat, bass droning underneath, trumpet line of long, purely played notes, Dostaler vamping sparely. "Tour des anges" begins with Epps and Dostaler playing solo lines before Coté enters with a splash of cymbal followed by a rising burst of feedback, which, with Dostaler's offbeat phrasing, creates a sense of impending doom. "Egalité de la resistance des ailes" has a gamelan-feel built around Martel's viola da gamba and Lauzier's alto, a polyrhythmic play. "Sur le siège d'a côté 22F" has Epps blowing air through his trumpet to simulate snoring. "Ostinato aierienne" is a gentle, peaceful ending, which one wishes all flights to have."-Musicworks Magazine
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• Show Bio for Philippe Lauzier
"Composer, improviser, instrumentalist (clarinet & saxophone) and sound artist, Philippe Lauzier participates in several projects that tour regularly in Canada and Europe, but also in USA, Latine America and Australia. In his solo and collective work, his ideas incorporate influences of contemporary musical languages as well as sounds from non-Western sources. Creative extended techniques, complex drones from which polyphonies emerge, and a certain compositional rigour are typical of his style. His interest for collaborative intermedia practices also leads him to create sound installation pieces, live performances for contemporary dance, theater music and many sound designs for visual art projects. Philippe lives in Montreal, Quebec."-Philippe Lauzier Website (http://www.philippelauzier.com/bio)
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• Show Bio for Jean Rene
"Jean René. Born Victoriaville, Québec, 1956. Residence: Montréal, Québec. Performer (viola), Conductor.
Jean René has a Bachelor's degree in composition from the Université de Montréal. He has studied viola and conducting; Raffi Armenian, Michel Longtin, and Bruno Guiranna were his professors. From 1991 to 2002, he was associate principal violist with l'Orchestre Métropolitain de Montréal. He still freelances with a number of ensembles. Since 1990 he has collaborated with many artists, including André Duchesne, Pierre Cartier, Jean Derome and René Lussier. He also headed the group from the Ensemble SuperMusique for the Symphony of the Millennium."-ActuelleCD (http://www.actuellecd.com/en/bio/rene_je/)
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• Show Bio for Pierre-Yves Martel
"Pierre-Yves Martel. Born Vanier, Ontario, Canada, 1979. Residence: Montréal, Québec. Composer, Performer (viola da gamba, double bass, objects)
Following a unique artistic path, Pierre-Yves Martel is constantly renewing his musical identity and practice. Though a instrumentalist, he identifies himself first and foremost as a sound artist whose work oscillates between perpetual research and experimentation. It is in this spirit that he has revisited the viola da gamba, utilizing this traditional instrument in new contexts and thus reengaging it with the contemporary world. Having created an authentic musical language through non-conventional techniques and instrumental preparations, he also works outside of instrumental music altogether, using a variety of objects rife with new sonic possibilities, from contact-mics and speakers to motors, wheels, surfaces and textures."-ActuelleCD (http://www.actuellecd.com/en/bio/martel_pi/)
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• Show Bio for Bernard Falaise
"Bernard Falaise. Born Montréal, Québec, 1965. Residence: Montréal, Québec. Composer, Performer (guitar).
Bernard Falaise was born in Montréal, where he currently lives. He plays electric guitar, composes and improvises - all with evident joy - for Miriodor, Klaxon Gueule, les Projectionnistes, Diesel and other groups. He has written for the Ensemble contemporain de Montréal (ECM), Quartango and the Isis Quartet, and has created music for exhibitions, television, the theatre and dance. Allergic to labels, Falaise explores acid rock, twelve-tone waltzes and industrial tangos with equal enthusiasm."-ActuelleCD (http://www.actuellecd.com/en/bio/falaise_be/)
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• Show Bio for Michel F Cote
"Michel F Côté. Born Montréal, Québec, 1958. Residence: Montréal, Québec. Composer, Performer (percussion).
Half a century later, now a grown-up, he still doesn't understand why he chose a career as a musician and composer instead of something else. With fluidity and idiocy, he gets involved with whomever he wants, thus avoiding any and all reductive labeling attempts. A Montréaler and a co-founder of the &records label, he stumbles around in various bands: bob, Klaxon, Pink Saliva, (juste) Claudette, and Mecha Fixes Clock. A designer associated with stage arts, he refuses to grow softer. As proof, in dance he adds his ear to the choreographies of Catherine Tardif, Sylvain Émard, Louise Bédard, Shanti Wadge, and José Navas; in theatre, he scratches his head alongside Wajdi Mouawad, Robert Lepage, Brigitte Haentjens, Éric Jean, and Martin Faucher. So what's left? He favours plants, suffers from music-loving, is rather clean overall, and tends to keep in shape."-ActuelleCD (http://www.actuellecd.com/en/bio/cote_mi/)
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