Courtesy of label Montagne Noire
montagnenoire.bandcamp.com
Deux instruments qui tressent, s’appellent, bondissent, se souviennent, s’amusent même.
Des moments uniques, vifs, pluriels, dans un désordre voulu, véloce,
ludique !
Transversales les deux musiciennes composent, improvisent et soulignent
ce travail « en désordre » !
Nous ne déterminons rien, seule la musique est, … nous la suivons,
simplement.
crédits
paru le 10 octobre 2019
Prise de son, montage et mixage : Benjamin Maumus | Le Colombier / Les Cabannes _ CNCM / Albi | juin 2017 _ fév. 2018
Mastering : Pierre Vandewaeter | Studio Lakanal / Montpellier | fév. 2019
Le GMEA - Centre National de Création Musicale d’Albi-Tarn est subventionné par le Ministère de la Culture - DRAC Occitanie, le Département du Tarn, la Ville d’Albi, la Région Occitanie et la SACEM.
released October 10, 2019
"Désordre" can mean anything from an untidy bedroom to, in its plural form, the activities of Gilets Jaunes protesters. It was great to see Joëlle Léandre in The Wire 429 and to hear that wonderful voice and its macaronic weave of French and English. I met her in the 1980s, I think at or around a Company week in London. She was gently critical then about how some male improvisors - names were named, but won't be repeated - revealed in chaos, seemed to think that freedom was simply a matter of increasing heard disorder. It was said in a gentle big sister /maternal way, as if referring to a brother or son: "He actually likes his room that way..."
There's not much disorder to Désordre.
What there is instead is a playful and affectionate game dialogue between Léandre's sonorous bass and composer, saxophonist and vocalist Alexandra Grimal. Some of the music reaches intensities which might tempt the unwary to reach for familiar adjectives about improvisation - contentious, combative, angular, abstract - while for the greater part the impression is of companionable work, executed without fuss or undue display, sometimes quietly melodic, as on parts four and particularly seven where Grimal's soprano horn makes a little melody, more lacemaking than Lacyish. In fact, there are few obvious points of comparison, even though bass/sax/voice duos aren't ten a penny. Léandre's 2004 Guelph appearance with violinist India Cooke suggests parallels and I was oddly reminded subjectively, of Paul Rogers's duo with pianist Sophia Domancich, though you couldn't hang anything on that.
A lot of Léandre's output has been in the relative anonymity of collectives or under imprimatur of composer names like Scelsi or Cage. She's appeared on well over 100 recordings, but Louise Gray's 2019 Wire interview may have been the first some have heard of her. There's a lot of stuff to catch up with, but this could hardly be a better place to start".
Brian Morton, The Wire
⭐️ ⭐️ ⭐️ ⭐️ Jazzmagazine
Nouveauté. L'une et l'autre ont le goût de la conversation. Il s'agit de
marcher vers l'autre, quel que soit son langage. Ainsi Joëlle Léandre dialogua avec Derek Bailey, Marc Ducret, Fred Frith, Lauren Newton, tant d'autres. Et Alexandra Grimal se rapprocha de Giovanni di Domenico et d'Elise Dabrowski. Ici l'échange se double d'une invention sonore qui recherche l'infra et l'au-delà du verbe. La contrebassiste et la saxophoniste ont probablement décidé d'en apprendre l'une de l'autre et elles l'ont fait dans un langage qualifié de "Désordre". Voici 15 pièces sans titres mais non sans voix. Celle-ci est partout présente, venue des instruments et desinstrumentistes. Si elle s'articule en phrases charpentées à l'ancienne (écoutez le 10), souvent elle est un souffle murmuré, jeté, grincé. C'est l'au-delà du verbe qu'avaient autrefois arpenté Antonin Artaud. Hugo Ball, François Dufrêne, Kurt Schwitters pour en finir une fois pour toutes avec le Dieu Grammaire. Elles le bousculent terriblement délicieusement. Admirable façon de casser le dire univoque en recourant à la polyphonie des couleurs et des timbres. Le résultat est un concert de tous les contrastes, de toutes les singularités, de toute cette expérience qui fait de l'une et de l'autre les modèles d'un jazz heureusement insubordonnable.
Guy Darol
"On entend chez la contrebassiste et la saxophoniste des pratiques qui ne sont en rien celles de l’ordinaire. La seconde est membre du Tentet de la première mais c’est ici leur première rencontre discographique seule à seule, en tête-à-tête. Pour le coup, le timbre traditionnel des instruments est à l’honneur. La chaleur du saxophone prend place dans le vaste ambitus de la contrebasse et leur association est une communion de l’ordre de l’évidence. Si le souffle de Grimal est bien celui de la parole (elle chante parfois), vindicative, spirituelle (mystique et drôle), personnage sonore qui se dresse et avance, Léandre est un paysage. Tour à tour montagne, plaine, mer et rivière, pluie, vents, soleil, elle est la cause des inclinaisons ou des ascensions de sa partenaire, les raisons de son humeur. Une musique de l’évocation, de la convocation, de l’invention et du partage." Nicolas Dourlhès, Citizen Jazz
www.citizenjazz.com/Le-label-sur-la-montagne.html
France Musique
Coup de coeur Anne Montaron
www.francemusique.fr/emissions/en-pistes-contemporains/la-ronde-des-collaborateurs-confines-83468
The title says it all. Désordre - disorder- captures the anarchistic essence of the first-ever recorded duo meeting of French sax player (she plays the tenor and the soprano saxes)-vocalist Alexandra Grimal, who has played in Léandre Tentet last recorded performances of her composition “Can You Hear Me?” (Ayler, 2016), and Léandre. They call it a “desired disorder”, swift, playful, and messy where they do not determine anything but simply follow the music.
***1/2
"The 15 brief duets were recorded between June 2017 to February 2018. Grimal and Léandre stick to basic ideas - a jazzy interplay, extended bowing, and circular breathing techniques, chatty or introspective dialogs, telling stories, or just playing rhythmic games, anything goes and is gone quickly. They play with these simple ideas, most of the time real fast but with no rush to reach a cathartic climax, and they do not attach themselves to any gesture, pulse or tone, just move on to the next one. The tone of most duets is serious, even lyrical and sometimes also melancholic, but the spirit is of resistance and focused on having fun. As Joe McPhee said once, you have to take your fun seriously."
Eyal Hareuveni, The Free Jazz Blog
www.freejazzblog.org/2020/09/recent-releases-from-joelle-leandre.html?fbclid=IwAR2yRqk70yQhKPYpJ6bhAG3yHq5Yhfx46jl43iuX5PA5iN8NLiwDR616K4U
(...) son récent duo avec Joëlle Léandre vient à point pour le saisir en lui-même, au sein d'un échange spontané des plus enjoués, voire ludiques et
chatoyants, entre les vents multiphoniques qui scintillent, louvoient, minaudent, et s'insèrent au sein des trames dominantes ou sereines, énergiques et grinçantes distillées par la contrebassiste. Désordre ? Peut-être, mais surtout un joyeux brouhaha communicatif, parfois appuyé par la voix" Pierre Durr, Revue et Corrigée
"Fica quase tudo dito no texto de apresentação deste disco que junta os esforços de duas das mais importantes figuras femininas do jazz criativo francês, a saxofonista Alexandra Grimal, de 39 anos, nascida no Cairo (o pai, Nicolas Grimal, hoje residente em Portugal, é um famoso egiptólogo) e a contrabaixista Joelle Léandre, 68 anos de idade, vinda ao mundo em Aix-en-Provence, uma pioneira da livre-improvisação da Europa que é também uma renomada intérprete de compositores como John Cage, Morton Feldman e Giacinto Scelsi. Lê-se: «Dois instrumentos que tecem, que se chamam, que entram em empatia, que se recordam, que se divertem até. Momentos únicos, vivos, plurais, de uma desordem intencionada, veloz e lúdica! Não determinamos nada, só a música é… seguimo-la simplesmente.»
⭐️ ⭐️⭐️⭐️
Esse “quase” entre o que se diz da música e o que esta é não pode ser traduzível por palavras, mas tentemos: em peças curtas, muitas delas apenas apontamentos relativos a uma ideia musical ou a um estado de espírito, o que ouvimos – apesar de seguir os anunciados postulados da desordem – parece frequentemente ser a leitura de uma escrita. O saxofone soprano (ou tenor) e o contrabaixo, aqui e ali pontuados pelas vozes das duas intervenientes, colam um com o outro ao longo das intrigas como se seguissem uma pauta, até percebermos que esta só se preenche no próprio momento da criação, que o composto é a finalidade da procura improvisacional a dois, não um ponto de partida. O registo geral é introspectivo, auto-inquisitivo, sereno, muito mais do que esperaríamos de algo que se reivindica pela lógica da desorganização. E o curioso é que, não obstante a brevidade das faixas, esta música faz-se demorar, não tem pressa, mesmo quando a velocidade indicada pela prosa que acima citamos é um recurso. Ou seja, precisamos de dar uma pausa às nossas vidas e escutarmos apenas para podermos absorver devidamente tudo o que aqui vem. Compensa, e muito, essa interrupção da dromologia de Virilio a que todos os dias damos corpo e movimento…" Rui Eduardo Paes,
Jazz.pt
jazz.pt/ponto-escuta/2019/12/16/alexandra-grimal-joelle-leandre-desordre-montagne-noire/
