The remarkably creative flutist & saxophonist Jean Derome often incorporates unusual instruments into his improvisations and compositions, including bird calls, harps, kalimbas, sirens, flower plastic wrappings, bells, &c &c.... on this album Derome focuses on those unique instruments and noise makers through 23 surprising pieces illustrating his incredible collection.
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Includes 6 page b&w insert with text and images.
Label: Ambiances Magnetiques
Catalog ID: AM 257
Squidco Product Code: 30156
Packaging: Cardboard Gatefold
Recorded 2020.08.31-09-01-02, Prise de son, by Bernard Grenon at Studio Resther, montreal.
Jean Derome-alto saxophone, piccolo, flute, bass flute, as well as about fifty other instruments including: Game calls: duck, seagull, super seagull, monkey, deer, boar, bear, sad turtledove, predator, wounded rabbit, wild turkey, starling, goose, thrush, partridge, Audubon whistle, trifecta, as well as... voice, asthmatic harp, kalimbas, spring box, lobster, crackling plastic, flower plastic wrapping, siren, whistle, telephone bells, rocks, bow, Styrofoam, string drum, "Smiley," jaw harps, wooden boxes, tuning forks, bells, goat hooves, doll navels, Brazilian whistles, ocarinas, toy trumpet, "Donald Duck," native rattle, 3D postcard, toy microphone
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• 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/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
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1. Adieu Aux Animaux 1:38
2. Balafon Cylindrique 3:58
3. Brusqu'arrêt 1:44
4. Cabanes À Moineaux 1:18
5. Cantus Firmus 6:55
6. Carillon De Mouettes-Muezzins 1:48
7. Castelet 3:41
8. Cicatrice 2:19
9. Cloudy 4:49
10. Comment Je Sens Mes Nerfs 5:44
11. Défilé D'icebergs En Diaporama 3:00
12. Dernier Tour De Piste 3:06
13. Eskers-Zoo 3:19
14. Harpe Asthmatique 4:05
15. Homard Abrupt 1:33
16. Karaoké 1:26
17. Pensées Pour Maître Lackritz 3:58
18. Plaintes Pliantes 3:24
19. Portrait Du Poète À L'aube Avec Sirène 2:48
20. Pousser L'enveloppe 2:49
21. Prédateur Bipolaire 2:19
22. Qui-Vive 3:13
23. Tour D'horizon 6:55
sample the album:
"Though I've been dedicated to the flute for 50 years and the saxophone for 35, I have never sought to confine myself to a specialty. Along the way, I have used many game calls and found objects in my practice.
The outcome in sound has always been paramount to me. I am not a crusader for the flute or saxophone, demonstrating how the world of sound can be played on one instrument alone. Though I work daily to expand what I can play on my instruments, it's clear that there are sounds on a duck call that cannot be produced on a saxophone. Thus, I am an orchestrator who knows which instrument will best produce the sound he seeks. Even if I employ toys or game calls; even if they seem simply and colourfully designed in materials of variable quality, from plastic to fine metal, from rare wood to cardboard; even if some instruments suggest rarefied, high-class contexts while others belong in the recycling bin, none of this is important to me. My eyes are closed and my attention is focused on the sounds they produce.
Circus artists have approached me to integrate my sounds into their clown shows. A sound designer wanted me to contribute to his catalogue by which he represents prehistoric animals. In each of these instances, I have replied that it's not about that at all. Everyone is in search of tricks and novel devices, but magic is not to be found in tricks and novel devices. My work is absolutely not comic and it's for this reason that, occasionally, it can be truly comical.
The sounds I produce can make people uncomfortable or make them laugh. They hear cartoons, farts and other 'impolite' sounds, animal calls, children crying, conversation... each listener will hear what he or she wishes.
The sounds I hear are stable, unstable, gentle, harsh, precise, imprecise, coarse, smooth, rough, dense, diaphanous, colourful, brilliant, dull, bitter, acidic, intense, percussive, evanescent, bent, twisted, stretched, suspended, short, biting, whispered, resonant, slippery, viscous, calm, agitated...
My art consists of making air vibrate in a meaningful way. Since I generally play wind instruments, it's with my stomach that I vibrate the air in which listeners bathe. In fact, my whole body is involved: From the diaphragm toward the lungs, larynx, nasal cavities, mouth, tongue, teeth, and lips. From there, it flows to the mouthpiece - either a reed or a whistle, my interface with the instrument, the balance point between my guts and the outside world -and onward to a resonator that propels the sound in the ambient air. Listeners' ears and whole bodies are set to vibrating.
"-Jean Derome [English translation: Scott Thomson]
Includes 6 page b&w insert with text and images.
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