Charuest, Yves / Michel Ratte / Peter Kowald
Montreal, 1985 [VINYL]
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During a 1985 stay in Montreal, iconic German double bassist Peter Kowald asked alto saxophonist Yves Charuest to perform a series of duos with him, after which Charuest invited Michel Ratté to perform as a trio live at Le Bruit Court, recording in their studio these solid free jazz recordings that remained in storage for 37 years prior to this release!
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Label: Tour de Bras / Ramble
Catalog ID: TDB0004HIST / RAM-0068
Squidco Product Code: 32575
Recorded at Silent Sound Studios, in Montreal, Canada, on June 30th, 1985, by Morris Apelbaum. Digital transfer by Mario Gauthier, 2022.
Yves Charuest-alto saxophone
Peter Kowald-double bass
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• Show Bio for Yves Charuest
"Canadian saxophonist Yves Charuest began his professional musical activities in the 1980s, playing with several Canadian musicians such as Michel Ratté, Jean Beaudet, Lisle Ellis, Jean Derome and Pierre Cartier in various bands including I Like Jazz, Evidence, Duo Charuest -Rate, Trio Michel Ratté, Wreck's Progress.
Charuest was a member of the Peter Kowald Trio (with German bassist Peter Kowald and South African drummer Louis Moholo) with whom he performed in Canada, the United States and Europe. He has performed with internationally active musicians including William Parker, John Betsch and Mathias Schubert, and has also collaborated with Canadian electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché.
Charuest works with various ensembles, including Charuest-Caloia, Still (with Nicolas Caloia and Peter Valsamis), Stir (with Caloia, Valsamis and Agustí Fernández), a quartet with Caloia, Lori Freedman and Josh Zubot, Murray Street Band and The Ratchet Orchestra. He regularly collaborates with Ellwood Epps, John Heward, Philippe Lauzier, Scott Thomson, choreographer Susanna Hood and dancer Alanna Kraaijeveld.
Charuest won the François-Marcaurelle Award at the 2015 Montreal Offspring of Jazz."-Yves Charuest Website (translated by Google) (http://yvescharuest.net/?page_id=13)
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• Show Bio for Peter Kowald
"Born 1944 in Germany, died 21 September 2002 New York City; double bass, voice, tuba.
Peter Brötzmann (Corbett, 1994) recounted that 'there was this young guy trying to play the bass, who was Mr Kowald, at that time seventeen years old. Peter lived with his parents. I had my little studio, so he was always hanging out at my place. But he had to be at home at 10.00, he was drinking milk. But we changed that, very soon. His parents were always very angry with me, because he never showed up at home anymore, he dropped studies of ancient languages, Greek and all that.' By this time (1962) Peter Kowald had been playing bass for two years and, with different drummers the two Peters were playing Mingus, Ornette, and Miles Davis things as well as listening to Coltrane, Stockhausen, Cage et al. Kowald was part of the European tour undertaken by the Carla Bley/Michael Mantler band in 1966 (also featuring Brötzmann) and then came work with other German musicians, membership of the Globe Unity Orchestra and the first recordings: Globe Unity, For Adolphe Sax and Summer 1967, recorded during a brief vacation in London. In particular, Evan Parker credits this visit to London for his invitation to play in the Pierre Favre/Irene Schweizer quartet and his subsequent longstanding involvement with German (and other European) musicians. Kowald's work with Brötzmann continued - on and off - on record at least, to the time of Kowald's death and included the Cooperative Trio with Andrew Cyrille, a duo on the Duos project and a recent mix of free jazz, hip-hop and rap.
Peter Kowald was a member of Globe Unity Orchestra for 12 years (1966 to 1978) and for much of this time played less of a side-man role and more of an equal partner - for example, conducting the band - with the person to whom the group has become most associated, Alex von Schlippenbach. His influence is particularly noticeable on Jahrmarkt/Local fair where the two sides of composition are by Kowald (as is the second side of Live in Wuppertal and he is also credited, along with Paul Lovens as 'producing' the record, presumably sorting out the sprawling theatricality and poor sound into two 'meaningful' fragments. In his notes to 20th anniversary, Schlippenbach emphasises the importance of Kowald in creating a programme that became a lot more 'colourful'; while further pointing out that he and Kowald gradually drifted further apart 'until one fine evening after lengthy discussions which resulted in a fight in a pub in Wuppertal, this chapter also closed'. However, before this ending, from 1973 to 1978, Kowald also worked with the Schlippenbach trio (Schlippenbach/ Parker/Paul Lovens), turning it for much of this time into a regular quartet.
Throughout his career, Peter Kowald worked with a wide variety of improvising musicians worldwide and in many considered and unusual situations. He recorded bass duets with Barry Guy, Barre Phillips, Peter Jacquemyn, Maarten Altena, Damon Smith and William Parker, released two solo bass recordings, and had regular groups with Leo Smith and Günter Sommer; with Joëlle Léandre and dancer Anne Martin (Trio Tartini); with dancers Cheryl Banks and Arnette de Mille and cellist Muneer Abdul Fataah (Music and Movement Improvisation); a trio with pianist Curtis Clark; a trio with Canadian alto saxophonist Yves Charuest and Louis Moholo; and Principle Life with Jeanne Lee, Klaus Hovman, and Marilyn Mazur. During the period 1980 to 1985 he was a member of the London Jazz Composers' Orchestra. He has spent periods in the US and in Japan and recorded three duo LPs (two CDs) with US, European and Japanese musicians. He also lived in Greece and similarly played and recorded with the Greek musicians Floros Floridis and Ilias Papadopoulos. By contrast, the 12 months May 1994 to May 1995 was designated Kowald's 'Year at home' project which comprised a mixture of solo works - out of which, to some extent, the last solo CD grew (Was da ist) - and group performances.
In addition, Peter Kowald collaborated extensively with poets and artists and with the dancers Gerlinde Lambeck, Anne Martin, Tadashi Endo, Patsy Parker, Maria Mitchell, Sally Silvers, Cherly Banks, Arnette de Mille, Sayonara Pereira, and Kazuo Ohno. Specific works included Die klage der kaiserin (1989) with Pina Bausch, Short pieces (since 1989) with Jean Sasportes, The spirit of adventure (1990) with Anastasia Lyra, Wasser in der hand (1990/91) with Christine Brunel, and Futan no sentaku/The burden of choice (1990/91) with Min Tanaka and Butch Morris."-European Free Improv (http://www.efi.group.shef.ac.uk/mkowald.html)
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1. Green circle and triangle dotted (II) 06:54
2. Elongiaque 11:12
1. Abacaba 07:29
2. Tout paradis n'est pas perdu 04:28 3. Green circle and triangle dotted (I) 05:11
sample the album:
"Michel Ratté and I were playing together for five years in different projects, most notably with our group I Like Jazz (1984-86) and in a duo already for two years. Completing a six-month stay in New York and after having been presented in Montréal in December 1984 with Peter Brötzmann and Andrew Cyrille, Peter Kowald asked Montréal producer Patrick Darby (Traquen'art) to organize a short stay in town to meet new musicians before his return to Germany.
One night in June, Peter came to hear me playing in a performance of improvised music and dance in Saint-Henri and asked me if I would play in duo with him in a series he booked with Darby's help, which I did. As he told me he was here to meet new musicians, I invited him to play with Michel Ratté and myself in our studio. From this first private session on, Peter was very enthusiastic about our intricate and dynamic playing and he suggested to do a recording session before he left Montréal for a possible release.
With barely a week left, we managed to play a few times in our studio and to present the trio live for two nights at the bar Le Bruit Court (June 29-30), the second night playing four sets-two sets before and two sets after seeing Cecil Taylor at Théâtre St. Denis! Those same days, we went to Studio Victor on the morning of the 29th for a recording session that was aborted for technical matters and that we were able to "transpose" in extremis the day after (30th) at Silent Sound Studio... with two days left before Peter's departure. The final selection made and mixed on July 1st, Peter could finally leave with the tape and... Michel Ratté and me to play one set in trio and one set in quartet with Joe Morris at Boston Mobius Theater.
We stayed in touch with the intention to release the album-which for some reason never happened-and I then played with the Peter Kowald Trio with Louis Moholo, which toured Europe (Germany, Belgium, Austria, Netherlands, Hungary, Finland) from 1986 to 1990 and played twice in New York (Knitting Factory) with Michel Ratté in 1988 and 1990.
Upon the request from Éric Normand, I managed to retrieve the only usable physical copy of that recording, a cassette that we were able to transfer. So some thirty-seven years later, here comes this release, witness of a not totally improbable and not entirely foreseeable musical encounter..."Yves Charuest, Montréal, March 2022
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