Bridging contemporary and improvised music, Montreal double bassist Nicolas Caloia wrote these pieces for textured and impossible rhythms; blending pieces by Nancarrow and Grand Master Flash; and manipulating poems by Genevieve Letarte; with supporting improv from Jean Derome & Lori Freedman.
Label: Ambiances Magnetiques
Catalog ID: AM 226
Squidco Product Code: 23328
Packaging: Cardboard Gatefold
Recorded in July 2015 by Nicolas Caloia.
Nicolas Caloia-doublebass, percussion, drum machine, composer
Jean Derome-Piccalo, bass flute, tenor saxophone
Lori Freedman-bass clarinet, bass, soprano, bells
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Les bonnes histoires: I. Prologue 5:19
Et ses paroles vaudront de l'or 1:28
Les bonnes histoires: II. Le petit pont 4:46
Les bonnes histoires: III. Fragment de ciel 5:38
Restent les absents 1:12
Les bonnes histoires: IV. L'allumeuse 3:17
Les bonnes histoires: V. Se repand au soleil 2:58
Robe de chambre 5:19
Les bonnes histoires: VI. Condensation 6:05
Remonte a la surface 3:28
Les bonnes histoires: VII. Soir bleu 10:15
sample the album:
"Les Bonnes Histoires is an attempt to step out of the sound environments that I usually navigate. I imagined a composition that includes rhythms that are impossible for a human percussionist to realize, like beats so fast that they are perceived as complex tones, or multiple, simultaneous tempo changes.
I experimented with virtual drum machines and was amazed by the textures they produced and the impression of hidden order that one perceives but cannot identify. I found that these 'bastard children' of Conlon Nancarrow and Grandmaster Flash, despite their mechanical origins, could express the moods I sought.
I also found that the subtle and clear texts of Montreal poet, Genevieve Letarte, sung so convincingly here by Gabriel Dharmoo, evoke similar states of mind. Genevieve generously let me manipulate her poems and even recited one of my rearrangements on this recording.
The double bass, clarinet, flute, and saxophone parts generally introduce, answer, or support the sung texts, but I am very grateful to Jean Derome and Lori Freedman for their superb improvisations, usually heard between (but sometimes within) the composed movements."-Nicolas Caloia