{"id":161,"date":"2011-10-25T11:25:11","date_gmt":"2011-10-25T15:25:11","guid":{"rendered":"http:\/\/nette.ca\/jazzfromrant\/?p=161"},"modified":"2020-05-08T15:00:28","modified_gmt":"2020-05-08T19:00:28","slug":"le-passant-2","status":"publish","type":"post","link":"https:\/\/nette.ca\/jazzfromrant\/le-passant-2\/","title":{"rendered":"Le Passant"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Available by email to shop@nette.ca or at Amazon<\/a> and iTunes<\/a><\/p>\n

Featuring Ellery Eskelin, Dominic Duval and Malcolm Goldstein and an orchestra that includes musicians from\u00a0 the Montreal Symphony Orchestra, the SMCQ and the NEM.<\/p>\n

Unique in its own way, Le Passant is a confrontation between the worlds of through-composed music and free improvisation. In it, players of various backgrounds and experiences co-habit with each other in a series of complex relationships of varying scope. The very life of this piece is prefaced on balancing out the compositional and improvisational elements at play here.<\/em><\/p>\n

REVIEWS<\/strong><\/p>\n

“His approach creates a music not unlike the free-est of free jazz, whereupon a group of strong individuals play with-and-against each other (the orchestra being an equal member), wtih only the most tangential of relationships holding things together.\u00a0 As anyone who’s seen a performance of a Cecil Taylor-led ensemble knows, such a strategy can result in transcendent music.\u00a0 Duval knows about such things, obviously, and he shines throughout, as does Eskelin.\u00a0 Goldstein is a monster.\u00a0 He does riveting work.\u00a0 The orchestra is dynamic and well-prepared, interpreting Lambert’s ingenious composition with grit and excitement.\u00a0 The second half of the album consists of free improvisations.\u00a0 These tracks are satisfying, yet there’s something about the orchestra functioning as a single, living, breating entity, set alongside the improvisors, that makes the first half special.”
\nChris Kelsey, JazzTimes<\/p>\n

“As musicians, they’re all formidable, and as people they’re sympathetic and generous. Too often, the so-called classical and improvising worlds are pushed together, resulting in an unhappy pastiche. In this instance, it’s exciting to hear that it need not be the case. In fact, this recording could prove to be something of a landmark.” ****
\nread full review<\/a>
\nMike Chamberlain, Hour<\/p>\n

“Although the sessions are almost flawlessly blended, unlike Third Stream Music the idea here isn\u2019t to amalgamate the improvisations with the written score played by the orchestra. Instead the studio wizardry allows the three sessions to coexist in order to produce both innovative energy and original texture … Assembling the strands of Lambert\u2019s musical identities, Le Passant confirms the Canadian drummer\u2019s first-class compositional, improvisational and studio production capability.”
\nread full review<\/a>Ken Waxman, One Final Note<\/p>\n

“This recording comes as a bit of a revelation. Lambert’s “Le Passant” is miles beyond the accepted vision of jazz meets orchestra, pushing the boundaries with this five movement work… A well-focused composition, Le Passant should establish Lambert’s presence at a whole new level in the music world.”
\nSteve Vickery, Coda<\/p>\n

” … une distribution des masses sonores digne de Penderecki et des d\u00e9veloppements orchestraux impromptus … Dans cet \u00e9lixir hautement vitriol\u00e9, les deux pi\u00e8ces improvis\u00e9es avec l’orchestre constituent le poison le plus d\u00e9lectable.\u00a0 Ames sensibles s’abstenir.”
\nAnne Ramade, Jazzman, no. 121, F\u00e9vrier 2006<\/p>\n

“Une relecture de cette oeuvre par son auteur, \u00e0 la fin des ann\u00e9es 90, a permis d\u00e9nrichir le travail original d’une section d’improvisateurs compos\u00e9e du violoniste Malcolm Goldstein, du contrebassiste Dominic Duval et du saxophoniste t\u00e9nor Ellery Eskelin: trois musiciens qui poss\u00e8dent l’ exp\u00e9rience et le sens de la srtucture pour tirer du projet initial une saveur et une densit\u00e9 nouvelles. Le Passant <\/em>donne \u00e0 l’ imaginaire des terrains \u00e0 conqu\u00e9rir. Myst\u00e9rieux, il “laisse derri\u00e8re lui des traces et des empreintes qui inspirent le parcours de l\u00e1lerte et de l\u00e1verti”. Chaudemenr recommand\u00e9.”
\nS\u00e9bastien Moig, Jazzosph\u00e8re, April 2006<\/p>\n

“A fascinating project … spacious, sometimes lonely, impressively adaptable sounds.”
\nBrian Morton, Wire, March 2006<\/p>\n

“Jazz and classical music have been combined in lots of ways but rarely but rarely with as much respect for their separate identities as on Michel Lambert’s ‘Le Passant”.”
\nNathan Turk, Signal to Noise<\/p>\n

“Though there are passages where the classically-trained ensemble musicians let fly, there’s usually little doubt as to what’s composed and what’s improvised \u2013 Goldstein of course sounds like no other violinist on the planet, and the extraordinary noises he conjures forth from the instrument contrast markedly with the ensemble writing … Le Passant raises important questions about compositional structure and the identity of musical material used to articulate it, and leaves it to listener to find the answers. A challenging and rewarding listen.”
\nDan Warburton, Paris Transatlantic<\/p>\n

“Jazz\/classical fusion, a high-spirited attack that works well. Quite avant-garde sounding with lots of improvising, with some joyous cutting loose of the 10 piece orchestra. Highlighted players include some jazz-related folks: Ellery Eskelin (sax), Dominic Duval (bass), Malcolm Goldstein (violin). Lambert himself turns in some aggressive drum solos. Awesome stuff packed with energy; every track is great, although 1 and 11 are a bit calmer.”
\nCraig Matsumoto, KZSU, 90.1 FM<\/p>\n

“The improvisations are stimulating. A constant friction sets off sparks, skittering drum lines give vent to the rolling atmosphere, and
\nquick accents flex the rhythm, a trait that bassist Dominic Duval also voices as he bows in rapid accelerations. Tenor saxophonist Ellery
\nEskelin expands the dimensions in constant billow, his ideas shifting and shading the fabric. Interaction and reaction mark the orchestrated work.”
\nread full review<\/a>
\nJerry D’Souza, All About Jazz<\/p>\n

“Lambert\u2019s confrontation between the two musical universes creates an ongoing feeling of displacement that rarely resolves, with contrast
\ncreated out of continual shifts between dense and spacious … With inherent conflict defining the majority of Le Passant, it\u2019s a very
\ndemanding listen. Still, while Lambert\u2019s divergent views of free improvisation and contemporary composition do indeed make strange
\nbedfellows, they can work together to create a challenging but rewarding and genre-busting work.”
\nread full review<\/a>
\nJohn Kelman, All About Jazz<\/p>\n

“Michel Lambert\u2019s recent outings on Rant and Leo, under his own name or others, have all been extraordinary and quite innovative. He\u2019s definitely a man to watch.”
\nJustin Glick, WNUR<\/p>\n

“Disons-le tout net: le r\u00e9sultat est \u00e0 la hauteur de nos esp\u00e9rances. Soufflent ici une \u00e9vidence et une fluidit\u00e9 remarquables. Les parties improvis\u00e9es et \u00e9crites se superposent, se fondent, se tissent avec bonheur et sans la moindre brisure. Et si on trouve ici une \u00e9vidente parent\u00e9 avec les exp\u00e9rimentations harmolodiques d\u00d3rnette pour grand orchestre, on ne peut que se r\u00e9jouir de voir cohabiter aussi intelligemment \u00e9criture et improvisation (splendides ricochets de Malcolm Goldstein). Une r\u00e9ussite totale.”
\nLuc Bouquet, Improjazz, Avril 2006<\/p>\n

“Ce batteur est aussi l’auteur, en 2001, de “Musiques Dessin\u00e9es”. Ainsi, le dessin et les couleurs nourrissent son travail de musicien et on peut parler ici d’ombre et de lumi\u00e8re, ou de fluidit\u00e9 des lignes pour d\u00e9crire la singularit\u00e9 de don invention \u00e0 la batterie.”
\nCharles Collard, La Scena Musicale, vol. 11.5<\/p>\n

“Eskelin’s throaty tenor wails mournfully, spinning phrases of circuitous abandon. Duval’s sinewy bass playing is a thing of beauty; in this unfettered context his pizzicato work is astonishing in its forthright melodicism. The inverse is true of Goldstein’s violin playing, which is vociferous in its texturally dissonant intensity, all rasp and scrawl…Dense and challenging, Le Passant offers complex and rewarding music for those with an ear towards the future of the third stream.”
\nread full review<\/a>
\nTroy Collins, All About Jazz<\/p>\n

“Drummer Michel Lambert’s five-part work “The Wanderer” (in French it is “Le Passant”) opens up this CD. It matches together improvisers with nonimprovising but virtuosic classical musicians, pitting them against each other rather than seeking a blend. The seven remaining selections on this CD are free improvisations (most of them fairly brief) inspired by the orchestral suite. Individually, there are colorful moments from tenor saxophonist Ellery Eskelin, the remarkable violinist Malcolm Goldstein, and bassist Dominic Duval…\u00a0 The overall results should interest those with ears open to sound explorations …”
\nScott Yanow, All-Music Guide<\/p>\n

“Interesting project: A small orchestra plus jazz folks, including Lambert (drums), Ellery Eskelin (sax), Dominic Duval (bass), and Malcolm Goldstein (violin, with some really cool solos)…the orchestra members play jumpy, dissonant lines or dive into a rustling group improv a la the London Improvisers Orchestra. \u00a0Overall, a high-spirited attack that melds modern classical with modern avant-garde jazz. It’s ambitious, energetic, exciting.”
\nKZSU, 90.1 FM<\/p>\n","protected":false},"excerpt":{"rendered":"

Available by email to shop@nette.ca or at Amazon and iTunes Featuring Ellery Eskelin, Dominic Duval and Malcolm Goldstein and an orchestra that includes musicians from\u00a0 the Montreal Symphony Orchestra, the SMCQ and the NEM. Unique in its own way, Le Passant is a confrontation between the worlds of through-composed music and free improvisation. In it, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,3],"tags":[],"class_list":["post-161","post","type-post","status-publish","format-standard","hentry","category-cd","category-michellambert"],"_links":{"self":[{"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/posts\/161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/comments?post=161"}],"version-history":[{"count":11,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/posts\/161\/revisions"}],"predecessor-version":[{"id":695,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/posts\/161\/revisions\/695"}],"wp:attachment":[{"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/media?parent=161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/categories?post=161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nette.ca\/jazzfromrant\/wp-json\/wp\/v2\/tags?post=161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}