A live recording at 28 rue Dunois, in Paris, France in 1984 from the trio of Daunik Lazro on alto sax, Joelle Leandre on double bass and voice, and George Lewis on trombone, a trans-Atlantic enounter of creative inventiveness and innovative vision, a great document of three persistent masters captured early in their incredible careers.
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Label: Fou Records
Catalog ID: FR - CD 18
Squidco Product Code: 23424
Packaging: Cardboard Gatefold
Concert recorded at 28 rue Dunois, in Paris, France, on January 8th, 1984, by Jean-Marc Foussat.
Daunik Lazro-alto saxophone
Joelle Leandre-doublebass, voice
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1. Enfance 1 2:12
2. Enfance 2 1:34
3. Enfance 3 2:15
4. Enfance 4 3:59
5. Enfance 5 19:36
6. Enfance 6 11:48
7. Enfance 7 1:33
8. Enfance 8 8:13
9. Enfance 9 1:04
10. Enfance 10 4:52
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"Amazing to think that 30 years of Joëlle Léandre's many collaborations with Daunik Lazro and George Lewis began with a recording we've never heard in full before now. As I've been soaking in all the writing this week, I revisited a couple of seminal albums also recorded in the 1980s, particularly the Intakt releases The Storming of the Winter Palace (the epic quintet featuring Léandre, Lewis, Maggie Nicols, Irène Schweizer, and Günter Sommer) and Paris Quartet (Léandre's album with Lazro, Schweizer, and Yves Robert). A portion of this trio performance appeared on Lazro's HatHut set, Sweet Zee, but if I'm not mistaken, this is the first release of the complete session. Thinking about how this is likely the first recorded meeting of these three, the clarity of the recording would be enough to recommend it, for its historical value. But the real prizes here are the vibrancy and ingenuity of three great improvisers in collaboration.
The opening 30 seconds of "Enface 1" contain a scattering of percussive noises (think Art Ensemble of Chicago-style little instruments), Léandre's voice, and the briefest tease of Lazro's sax. A minute later, the trio is fully awoken. Lazro and Léandre have long been collaborating, and the genesis of their partnership illuminates how well matched they've been since the beginning. All three musicians boast tremendous talent and commitment to the moment, but there's also sly humor and a passionate drive to urge listeners to out of their traditionally passive role. "Enfance 4" is a wonderful examples of this, with Léandre's arco solo suddenly interrupted by Lewis and Lazro's riffs and squaks.
"Enface 5" is something of preview of the past 30 years in retrospect. Early on, Lazro takes a lyrical solo, which Léandre quickly picks up on bass. The two continue moving forward, somewhat hesitantly, before ceding the floor to Lewis for an extended solo. The three come together in a swirling passage of singing, bass, trombone, and sax, which contrasts staccato passages with brassy outbursts. Hearing it all hang together in synchrony, I was somewhat on edge, waiting to hear how long the passage would sustain itself.
With most of the tracks clocking in at sub-4 minutes, the 20-minute "Enface 5" and 12-minute "Enface 6" form the centerpiece of the album. Toward the middle of "Enface 6" is a Lazro/Lewis duet, with the two weaving their lines together into a dense run. Gradually, Léandre joins, then quickly takes centerstage for a solo that sets the path forward for the piece's conclusion. The final track, "Enface 10," plays like a strident plea that could be a call for peace, a call to action, or a call simply echoing out into space, perhaps never to be answered."-Lee Rice Epstein, The Free Jazz Collective
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• Show Bio for Daunik Lazro
"The French saxophonist Daunik Lazro combines a tart, piercing tone with a quick mind and a flexible philosophy of music-making. His professional start was in bassist Saheb Sarbib's orchestra, a relationship he maintained through most of the '70s, which included three recordings. His first steps playing his own music involved a radical resizing of the cast on-stage, going from orchestra playing to solo saxophone concerts and duets. In the '80s, he busily played with many on the European improvised music scene, including bassist Jean Jacques Avenel, cellist Tristan Honsinger, violinist Carlos Zingaro, drummer Christian Rollet, and saxophonist Evan Parker, among others. In the mid-'80s, Lazro expanded his partnerships to include dance and theater projects, including work with the Company of the Chance.
He formed a particularly fine trio in 1987 with fellow saxophonist Michel Doneda and the brilliant ppercussionistLê Quan Ninh, playing at many of the major European festivals and also touring in Canada. Duets with the American free improviser Joe McPhee are a 1991 discographical highlight, during a period when Lazro also began playing viola. In 1993, he started his own orchestra as well as a quartet called Outlaws in Jazz with Jac Berrocal, Didier Levallet, and Dennis Charles. In 1995, he toured Europe in a triple-threat combination with both McPhee and Parker, and the former artist also joined him in a quartet the following year with the superb British contrabassist Paul Rogers. In the late '90s, he continued involvement with a series of orchestra projects, often as a guest soloist."-All Music, Eugene Chadbourne (http://www.allmusic.com/artist/daunik-lazro-mn0000956932/biography)
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• Show Bio for Joelle Leandre
"Joëlle Léandre (born 12 September 1951 in Aix-en-Provence, France) is a double bassist, vocalist, and composer active in new music and free improvisation.
In the field of contemporary music, she has performed with Pierre Boulez's Ensemble InterContemporain, and worked with Merce Cunningham and John Cage. Both Cage and Giacinto Scelsi have composed works specifically for her.
She gave an historic solo concert in "Jazz em Agosto" in 2007 (Calouste Gulbenkian Foundation, Lisbon, Portugal). In this same top jazz festival, Léandre performed also in the "Quartet Noir", a quartet with quite rare live performances, with Marilyn Crispell, Urs Leimgruber and Fritz Hauser.
She has also collaborated with some of the preeminent musicians in the fields of jazz and improvised music, including Derek Bailey, Barre Phillips, Anthony Braxton, George Lewis, India Cooke, Evan Parker, Irène Schweizer, Steve Lacy, Maggie Nicols, Fred Frith, Carlos Zingaro, John Zorn, Susie Ibarra, J. D. Parran, Kevin Norton, Eric Watson, Ernst Reijseger, Akosh S. and Sylvie Courvoisier.
In 1983 she became a member of the European Women Improvising Group (EWIG), which resulted from former Feminist Improvising Group and in later 1980s she co-founded the feminist improvising Trio Les Diaboliques, with Schweizer and Nicols."-Wikipedia (https://en.wikipedia.org/wiki/Jo%C3%ABlle_L%C3%A9andre)
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• Show Bio for George Lewis
"George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A 2015 Fellow of the American Academy of Arts and Sciences and a Corresponding Fellow of the British Academy, Lewis has received a MacArthur Fellowship (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 140 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Boston Modern Orchestra Project, Talea Ensemble, Dinosaur Annex, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Lewis has served as Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC Fitt Artist In Residence, Brown University.
Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society's Music in American Culture Award. Lewis is co-editor of the two-volume Oxford Handbook of Critical Improvisation Studies (2016), and his opera Afterword, commissioned by the Gray Center for Arts and Inquiry at the University of Chicago, premiered at the Museum of Contemporary Art Chicago in October 2015 and has been performed in the United States, United Kingdom, and the Czech Republic.
Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and Simon Fraser University's Contemporary Arts Summer Institute. Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey."-Columbia University (http://music.columbia.edu/bios/george-e-lewis)
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