"Canadian baritone saxophonist Charles Papasoff has, with this recording, pulled off the heretofore unimaginable: pulled together a sextet comprised strictly of baritone players from Europe and North America and commissioned each member...
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Label: Les Disques Victo
Catalog ID: CD 038
Squidco Product Code: 23976
Packaging: Jewel Case
Recorded on 18 May 1995 live at the 12th Festival International de Musique Actuelle de Victoriaville
Bo Van Der Werf-baritone saxophone
Charles Papasoff-baritone saxophone
Christian Gavilett-baritone saxophone
David Mott-baritone saxophone
Hamiet Bluiett-baritone saxophone
Jean Derome-baritone saxophone
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1. Mouvements 17:03
2. L' Espoir De Ne Pas Perdre Espoir 3:26
3. 1st Mouvement 5:31
4. 2nd Mouvementloose Cannons 1:01
5. 3rd Mouvement [Vrsion Courte] 11:08
6. Verdi 8:48
7. God's Clothes For Shaman Bobbi 5:07
8. Pithecantropus Erectus 4:45
descriptions, reviews, &c.
"Canadian baritone saxophonist Charles Papasoff has, with this recording, pulled off the heretofore unimaginable: pulled together a sextet comprised strictly of baritone players from Europe and North America and commissioned each member to bring some new chart to the table that would showcase the seemingly limitless range of expression the baritone holds -- which goes against the historical jazz grain where the horn has been either ignored or relegated to the background shadows of a bandstand with very few exceptions. This conspiracy -- of a group working in concert with one another -- was indeed performed that way at the Victoriaville Festival in 1995. The set starts off with two Papasoff contributions, one the long intro to "Mouvements," which consists of five sections: a solo, ensemble rhythmic workout, a harmonically diverse ballad section, a seemingly improvised swing workout, and then a closing theme -- all of which are Ellingtonian in their magnanimous musicality. Next isChristian Gavillet's "Verdi," an extrapolation of various themes by the late Italian composer. But this is no neo-classicist foray for baritone saxophonists. This is a dark, shadowy realm where tonalities and polyphonal calls and responses are woven into a fabric that suggests unbroken lines of minor-key elegance and grace that is nearly operatic before it breaks into a funky roar. The most tantalizing and delicious thing here, however, is Hamiett Bluiett and Papasoff's re-arrangement of Charles Mingus' "Pithecanthropus Erectus." Here the baritone choir stomps, swings, and shouts its way into jazz heaven. Bluiett's contribution is the orchestral feel of the piece, sounding more like the Mingus big band than a saxophone choir approaching the gospel-tinged theme, and Papasoff's is in his modulation of the sextet in such a way that the entire composition is covered harmonically from the first bar. This is beauty that is almost unbearable in its intensity and guttural raw swingingglory."-Thom Jurek, All Music
• Show Bio for Jean Derome
"Jean Derome. Born Montréal, Québec, 1955. esidence: Montréal, Québec. Composer, Performer (saxophones (alto, baritone, soprano), flutes (flute, bass flute, piccolo, alto flute, recorders), keyboards, small wind instruments (ocarinas, jew's harp, game calls, toys...), percussion, invented instruments, voice)
One of the most active and eclectic musicians on the Canadian creative music scene, Jean Derome has managed to earn the recognition of a larger public, a rare feat in that field. Thanks to his large-scale musique actuelle projects, his compositions, his work as an improviser, his jazz groups and his music for the screen and the stage, Derome ranks as a major creative force, in Québec and abroad. He is experienced and innovative on both saxophone and flute, and his unique writing style cannot be mistaken for anyone else's. Sensitive and powerful, his music often features a funny strike that makes its complex nature more inviting.
Ever since Nébu (one of Québec's first avant-garde jazz groups) in the early '70s, Derome has been consistently renewing and diversifying his approach of composition. He impressed audience and critics first with the flute, then with the saxophone, as a lead character in the musique actuelle underground. He took part to the various artists' collectives looking for new ways to express themselves freely, without esthetic or social constraints, including the Ensemble de musique improvisée de Montréal. Later, in the early '80s, he co-founded Ambiances Magnétiques, a collective and record label that raised his profile at home and introduced his name to the outside world. Among his numerous projects, let us mention the duos Les Granules, Nous perçons les oreilles and Plinc! Plonc!, the dynamic group Jean Derome et les Dangereux Zhoms, and the large-scale projects Confitures de gagaku, Je me souviens - Hommage à Georges Perec and Canot-camping. Most of these projects are based on a unique form of synergy between composition, structured improvisation and genuine creative madness, all this articulated with unmatched playfulness. In 1992, Derome became the second artist to be presented with the Freddie Stone Award (bassist Lisle Ellis was the first).
Besides improvising on a regular basis with Ambiances Magnétiques' members and appearing in their projects, Derome has also shared the stage with several musicians of international stature, among others Fred Frith, Lars Hollmer, Louis Sclavis and Han Bennink. He performs regularly all over Canada, in the US and in Europe. He received a Prix Opus in 2001 for his exposure abroad.
Lately, jazz circles have been praising his undisputable qualities as a jazzman, thanks to the Thelonious Monk tribute project Évidence, the Normand Guilbeault Ensemble (whose Mingus Erectus CD is devoted to Charles Mingus' music), and the much-lauded Derome Guilbeault Tanguay Trio.
Although Jean Derome writes tirelessly for his own projects, he is much in demand in the fields of film, theatre and dance. A short list of this side of his work would have to include his numerous scores for the National Film Board of Canada (NFB), especially for films by John Walker, Jacques Leduc, Fernand Bélanger and animated films by Pierre Hébert, Michèle Cournoyer and Jean Detheux; his incidental music for Théâtre UBU, Théâtre de Quat'Sous and Théâtre du Nouveau Monde; not forgetting his work with several top choreographers, including Louise Bédard, Andrew de Lotbinière Harwood, Daniel Soulières and Ginette Laurin. Other music ensembles have commissioned works from him, including Tuyo, Bradyworks, the Hard Rubber Orchestra from Vancouver and Fanfare Pourpour. Incidentally, Derome is the musical director of the latter.
Over thirty years of music and 70 record credits later, Jean Derome still has sleeves bursting with tricks."-ActuelleCD (http://www.actuellecd.com/en/bio/derome_je/)
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