The trio of Joelle Leandre (bass), Benoite Delbecq (piano), Francois Houle (clarinets) recording the 7-part "rue Paul Fort" at 14 rue Paul Fort @ Helene Aziza in Paris, France in 2013, beautifully fluid free improvisation from a set of superlative players.
Out of Stock
Shipping Weight: 4.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: LEO 731
Squidco Product Code: 21265
Country: Great Britain
Packaging: Jewel Case
Recorded at 14 rue Paul Fort @ Helene Aziza in Paris, France, on November 24th, 2013, by Jean-Marc Foussat
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Joelle Leandre
"French double bass player (born 12 September 1951 in Aix-en-Provence, France), improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l'Itinéraire, 2e2m and Pierre Boulez's Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her - as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.
As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others...
She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006, she is Visiting Professor at Mills college, Oakland, CA, Chaire Darius Milhaud, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.
From 1981 to 2009, Joëlle Léandre has about 150 recordings to her credit.-Joelle Leandre Website (https://www.joelle-leandre.com/biography/2/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Joelle Leandre
• Show Bio for Francois Houle
Francois Houle (born August 17, 1961, Lachine): "I am a Canadian clarinetist who embraces pretty much any music where the clarinet is present, or has a bit of profile or history. Although I am classically trained, I have not followed the traditional career path associated with the kind of classical training I came out of.
I studied at McGill University with Emilio Iacurto (the legendary, long-time principal clarinetist of the Montreal Symphony Orchestra) and at Yale University with Keith Wilson (whose contribution to the clarinet world is unparalleled). I've had the privilege of participating in masterclasses with some of the world's finest clarinet players, including David Shifrin, Richard Stoltzman and Alan Hacker.
It was Alan Hacker who actually opened the door for me to explore new technical and musical possibilities on the clarinet. Having been part of Fires of London and a close collaborator with composers such as Peter Maxwell-Davies, Alan's insatiable curiosity and deep scholarship inspired me to look for my own personal approach. Following a brief visit to his home in the UK in the late 80's I spent some time in Paris practicing and researching clarinet new music repertoire. At that time I still didn't know what I was going to do with my life, except that I had a deep desire to "make it" in the music scene. It was during this period that I discovered the music of Steve Lacy.
Steve Lacy's career actually began as a dixieland clarinetist, eventually shifting to the soprano saxophone, an instrument very few jazz musicians had investigated since the great Sydney Bechet due to its range, smaller embouchure and faulty intonation. Steve dedicated his life to bringing this instrument at the forefront of creative music (legend has it that he turned John Coltrane on to the soprano's expressive qualities).
At the time I had one occasion of hearing him play live at the New Morning jazz club, and bought a newly released duo recording called "Paris Blues" (Owl Records, 1987) with the great Gil Evans on piano. Heading back to Canada, that was the only music I could listen to for quite a while, being transfixed by Lacy's and Evan's telepathic playing. It was the first time that I had found a jazz performance that rivalled with the finest chamber music making I was then more familiar with. It was a game changer as far as I was concerned. It opened the door for further exploration and discoveries; Anthony Braxton, John Carter, Jimmy Giuffre, all important figures in the development of creative music on the clarinet. It is interesting and deplorable to note that not once were these names ever mentioned in all my years of university clarinet seminars and lessons. It was only a few years later that he agreed to meet with me for one on one lessons at his Paris apartment. His main advice to me was to stick with the clarinet, and forge ahead with my musical thoughts and ideas, no matter how difficult the road ahead may be.
After a stint at the Banff Centre, where I worked on my technique and practiced improvisation (the centre has a great library with an extensive jazz and creative music collection), I relocated to Vancouver in the winter of 1989, where I began playing on the creative music scene and met many musicians who eventually became fantastic collaborators; Claude Ranger, Roger Baird, Tony Wilson, amongst many others. At the time, the New Orchestra Workshop Society was approaching its golden years, with the founding of the legendary Glass Slipper, the "go to" venue for creative music on the West Coast. The Vancouver Jazz Festival was well on its way to establishing itself as one of the most innovative international music happening, not only programming some of the biggest names in the business, such as Miles Davis and Wynton Marsalis, but also the most creative musicians on the planet; Cecil Taylor, Evan Parker, John Zorn, Dave Douglas, Anthony Braxton, William Parker, and a whole sleuth of European 1st generation of improvisors such as Misha Mengelberg, Han Benning, ICP, AMM, and the Italian Instabile Orchestra. It was at the 1992 Jazz Festival that I had my first high profile gig, my first band "Et Cetera" sharing the bill with the Steve Lacy Sextet!
As I was making my first steps in the improvised community, I also became involved with the contemporary music scene, collaborating with composers such as John Oliver and Paul Dolden, as well as freelancing with established organizations; Vancouver New Music, Vancouver Pro Musica. In 1992 I became a founding member of the Standing Wave ensemble. My activities in both creative music and new music allowed me to forge a strong profile, eventually expanding to collaborations with international musicians, and getting international touring opportunities. Some long standing collaborations were forged during that fruitful period, with luminaries such as Benoît Delbecq and Joëlle Léandre among others.
I have since been constantly involved in the advancement of creative music, pursuing collaborative projects with composers and musicians of all persuasions. My work continues to test the boundaries, looking for new vistas and connections with listeners everywhere."-Francois Houle Website (https://www.francoishoule.ca/about)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Francois Houle
1. rue Paul Fort 1 13:20
2. rue Paul Fort 2 12:45
3. rue Paul Fort 3 5:00
4. rue Paul Fort 4 4:11
5. rue Paul Fort 5 7:09
6. rue Paul Fort 6 4:21
7. rue Paul Fort 7 3:24
sample the album:
"Some four years ago, I gave a 5-star rating to a duo collaboration between French pianist Benoit Delbecq and Canadian clarinettist Francois Houle for their album "Because She Hoped", a great result of years of collaboration. On the other hand, the collaboration between Leandre and Houle also goes back for more than a decade and with four albums so far, and they are also easy to recommend.
They now form a trio on this magnificent album, and I think it's even the first album on which Leandre and Delbecq collaborate, so even in that respect it's a historic moment to have two of France's most distinguished improvisers on the same record.
And they do not disappoint us, quite to the contrary, they create music that is all their own, an eclectic mix of jazz and free improv with classical elements and even folk music as their basis.
What we get here are three musicians who are among the best you can get on their respective instruments, and at the same time innovators and musical visionaries, now giving us this mature and fresh music, offering versatile and open improvisations with moments that can be qualified as meditative, impressionist, dreamy, mysterious, full of intense lyricism and wonderful spontaneous harmonious developments. Sounds are predominantly as can be expected from each instrument, although timbral excursions do occur, especially by the piano and the clarinet.
The recording has furthermore the intimacy of chamber music, and that's literally what it is, having been performed live as a private home concert, which explains the address of the title. And even despite the limited setting, the music still leaves lots of open space, moments of silence surrounded by just one or two instruments driving the improvisation forward, with caution, accuracy and audacity.
Despite the overall sense of sadness and melancholy, they also alternate with moments of fun and playfulness, as on the fourth track, or as on the sixth track, when a folk melody is used as the basis for free fun.
In sum, this is a real treat, performed by three magnificent musicians who sculpt a common sound out of thin air, beautiful and sensitive and free.
Don't miss it."-Stef, Free Jazz Blog
p> "The "heavy artillery" of new music perform in Paris in a kind of a private house in front of a select and appreciative audience. Moody, dreamy, mysterious music. To be outstanding one does not have to be loud. Yet from time to time a beautiful dream is rudely interrupted by a whirlwind of sounds just to fall into the golden slumber again.'-Leo
Get additional information at Free Jazz Blog
European Improv, Free Jazz & Related
New in Improvised Music
Search for other titles on the Leo label.