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░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
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░ ▓████▓▌ ░ Artist.......: Trio Derome Guilbeault Tanguay ▐▓▀▀
▓ ▐█████▓█ Album........: 10 compositions ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Actuelle CD ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 53:46 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Sep-06-2005 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: 000-00-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 73,2 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Marcher sur les Braises 04:49 ▓▌
▓████▓▌ 02. VΘrone 06:56 ▓▌
▓████▓▌ 03. L'Africaine 08:48 ▓▌
▓████▓▌ 04. Pangolin 05:49 ▓▌
▓████▓▌ 05. Etymologie 03:48 ▓▌
▓████▓▌ 06. La baignade 04:05 ▓▌
▓████▓▌ 07. Quek'un! 05:59 ▓▌
▓████▓▌ 08. Fluide 04:27 ▓▌
▓████▓▌ 09. Cannelle 04:13 ▓▌
▓████▓▌ 10. Michka 04:52 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ VΘritable groupe culte de la scΦne de jazz ▓▌
▓████▓▌ montrΘalaise, le Trio Derome Guilbeault Tanguay est ▓▌
▓████▓▌ apprΘciΘ pour son swing irrΘsistible, sa bonne ▓▌
▓████▓▌ humeur proverbiale, son audace, sa fougue, son jeu ▓▌
▓████▓▌ dÆensemble raffinΘ, lÆoriginalitΘ de son rΘpertoire ▓▌
▓████▓▌ et lÆauthenticitΘ de son style qui tΘmoigne dÆune ▓▌
▓████▓▌ vaste connaissance de lÆhistoire du jazz àsans ▓▌
▓████▓▌ oublier quÆil incarne une vigoureuse proposition ▓▌
▓████▓▌ quant α son renouveau. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Le Trio est composΘ de Jean Derome au saxophones et ▓▌
▓████▓▌ fl√tes, Normand Guilbeault α la contrebasse et de ▓▌
▓████▓▌ Pierre Tanguay α la batterie. Ces trois musiciens ▓▌
▓████▓▌ sont bien connus du milieu de la musique ▓▌
▓████▓▌ montrΘalaise et mΩme si on les voit souvent sur les ▓▌
▓████▓▌ scΦnes de musique actuelle et de jazz, il ne faut ▓▌
▓████▓▌ pas se surprendre de les reconnaεtre accompagner le ▓▌
▓████▓▌ travail de nos meilleurs chansonniers, poΦtes, ▓▌
▓████▓▌ cinΘastes, chorΘgraphes etc. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Existant dΘjα depuis bient⌠t dix ans, le Trio ▓▌
▓████▓▌ Derome Guilbeault Tanguay a prΘsentΘ de nombreux ▓▌
▓████▓▌ programmes diffΘrents: des hommages α Billy ▓▌
▓████▓▌ Strayhorn et α Charles Mingus; une exploration du ▓▌
▓████▓▌ rΘpertoire Swing des annΘes 30-40 revisitant les ▓▌
▓████▓▌ compositions de Johnny Hodges, Ben Webster, Coleman ▓▌
▓████▓▌ Hawkins etc.; plus rΘcemment, il sÆest penchΘ ▓▌
▓████▓▌ sΘrieusement sur la musique de Eric Dolphy, Sonny ▓▌
▓████▓▌ Clark, Misha Mengelberg, Roland Kirk, Lee Konitz et ▓▌
▓████▓▌ Lennie Tristano et a prΘsentΘ aussi des concerts ▓▌
▓████▓▌ consacrΘs uniquement α la musique de Jean Derome ▓▌
▓████▓▌ (notamment lors de son Exposition de Musique ▓▌
▓████▓▌ prΘsentΘe au ThΘΓtre La Chapelle en avril 2000). ▓▌
▓████▓▌ ▓▌
▓████▓▌ Un public grandissant et fidΦle suit le Trio ▓▌
▓████▓▌ partout o∙ il joue et nombre impressionnant de ▓▌
▓████▓▌ jeunes musiciens de jazz assiste assid√ment α ses ▓▌
▓████▓▌ concerts. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ Le Trio nous prΘsente, avec ce premier album, dix ▓▌
▓████▓▌ compositions inΘdites de Jean Derome. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Chaque note de la ligne de basse de Marcher sur des ▓▌
▓████▓▌ braises est Θcrite lΘgΦrement avant le temps comme ▓▌
▓████▓▌ quand on a peur de se br√ler en touchant un rond de ▓▌
▓████▓▌ poΩle (ou en marchant sur des braises!). La forme ▓▌
▓████▓▌ de la piΦce est assez classique (elle peut faire ▓▌
▓████▓▌ penser α Impressions ou So What) mais lÆalternance ▓▌
▓████▓▌ de sections de 8 et de 6 mesures lui confΦre un ▓▌
▓████▓▌ dynamisme particulier. ▓▌
▓████▓▌ ▓▌
▓████▓▌ VΘrone a ΘtΘ composΘe (comme son nom lÆindique) α ▓▌
▓████▓▌ VΘrone, Italie, pendant une tournΘe avec Fred Frith ▓▌
▓████▓▌ et Keep the Dog au dΘbut des annΘes 90. La piΦce ▓▌
▓████▓▌ est basΘe sur une pΘdale de RΘ mais prΘsente ▓▌
▓████▓▌ diffΘrentes couleurs modales spΘcialement dans la ▓▌
▓████▓▌ section B o∙ lÆharmonie explore des modes qui sont ▓▌
▓████▓▌ dans un rapport plus tendu avec la fondamentale. ▓▌
▓████▓▌ Chaque joueur a toujours le choix de jouer ▓▌
▓████▓▌ lÆostinato ou de jouer en mode ½walking╗ soit lent, ▓▌
▓████▓▌ soit double vitesse. La section A est en 4/4 mais ▓▌
▓████▓▌ une mesure de 3/4 est cachΘe quelque part et sert α ▓▌
▓████▓▌ dΘstabiliser la tendance des jazzmen α jouer en ▓▌
▓████▓▌ mode ½pilote automatique╗. La section B est en 7/4. ▓▌
▓████▓▌ ▓▌
▓████▓▌ LÆAfricaine propose un climat mΘditatif Θtabli par ▓▌
▓████▓▌ une riff de basse en ostinato alternant les mesures ▓▌
▓████▓▌ de 6 et de 7. Le thΦme est constituΘ de quelques ▓▌
▓████▓▌ notes seulement suivi dÆune improvisation modale ▓▌
▓████▓▌ toujours changeante inspirΘe par la souplesse et ▓▌
▓████▓▌ lÆinventivitΘ rythmique des chanteurs africains.└ ▓▌
▓████▓▌ noter la percussion de Pierre Tanguay qui joue sur ▓▌
▓████▓▌ les b√ches de bois qui servaient au chauffage du ▓▌
▓████▓▌ chalet o∙ nous avons enregistrΘ le disque. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Pangolin est une piΦce ancienne qui nÆa presque ▓▌
▓████▓▌ jamais jouΘe en concert mais que je joue souvent au ▓▌
▓████▓▌ piano. Le thΦme est prΘsentΘ 3 fois mais α la ▓▌
▓████▓▌ troisiΦme fois lÆaccompagnement passant du 12/8 au ▓▌
▓████▓▌ 4/8 donne lÆimpression que le sol se dΘrobe sous ▓▌
▓████▓▌ nos pieds. Le pangolin est un gros mammifΦre lourd, ▓▌
▓████▓▌ massif, lent et assez bas sur pattes qui ressemble ▓▌
▓████▓▌ un peu α un tamanoir ou un carcajou qui serait ▓▌
▓████▓▌ couvert dÆΘcailles. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ╔tymologie date du dΘbut des annΘes 80 et a ΘtΘ ▓▌
▓████▓▌ composΘ en hommage α Ornette Coleman. La piΦce nÆa ▓▌
▓████▓▌ que 7 mesures et prΘsente de grandes difficultΘs au ▓▌
▓████▓▌ niveau rythmique et harmonique, surtout α cause des ▓▌
▓████▓▌ dΘplacements rythmiques de la grille dÆaccords. Le ▓▌
▓████▓▌ thΦme est Θcrit un peu dans le style presque vocal, ▓▌
▓████▓▌ presque parlΘ de certains thΦmes dÆOrnette mais ▓▌
▓████▓▌ fait aussi rΘfΘrence α Monk. ╔tymologie a ΘtΘ ▓▌
▓████▓▌ insΘrΘe dans la piΦce Les Aventures de Sacha le ▓▌
▓████▓▌ chat sur le vinyle Le retour des Granules. ▓▌
▓████▓▌ ▓▌
▓████▓▌ La baignade a ΘtΘ composΘe pour le film Au fil de ▓▌
▓████▓▌ lÆeau de Jeannine GagnΘ. La piΦce est basΘe sur un ▓▌
▓████▓▌ ostinato de basse alternant dÆune maniΦre assez ▓▌
▓████▓▌ imprΘvisible des mesures de 5/4 et de 6/4. Le thΦme ▓▌
▓████▓▌ propose dÆautre divisions rythmiques principalement ▓▌
▓████▓▌ des figures de 5/8 qui dansent et ondulent par ▓▌
▓████▓▌ dessus la ligne de basse. ▓▌
▓████▓▌ ▓▌
▓████▓▌ QueÆkun! est le mot que disait ma fille Raphaδlle ▓▌
▓████▓▌ quand elle Θtait jeune bΘbΘ et quÆelle entendait ▓▌
▓████▓▌ quelquÆun α la porte. Je me rappelle aussi quÆelle ▓▌
▓████▓▌ disait ½noune╗ pour mouche et ½wawane╗ pour ▓▌
▓████▓▌ fromage. Le piΦce en 3/4 est de forme AAB mais le B ▓▌
▓████▓▌ ne prΘsente que des diffΘrences trΦs subtiles avec ▓▌
▓████▓▌ le A. QueÆkun! Θvoque un ½survenant╗, un visiteur ▓▌
▓████▓▌ inconnu et inattendu qui cogne α votre porte et ▓▌
▓████▓▌ constitue α la fois une menace et une possibilitΘ ▓▌
▓████▓▌ de changement. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Fluide est une piΦce sans mesure fixe Θcrite un peu ▓▌
▓████▓▌ α la faτon dÆun thΦme grΘgorien. Le thΦme est jouΘ ▓▌
▓████▓▌ ensemble α lÆoctave par le saxophone et la ▓▌
▓████▓▌ contrebasse puis les diffΘrents choix de gammes que ▓▌
▓████▓▌ le thΦme propose sont explorΘs et dΘveloppΘs ▓▌
▓████▓▌ librement en improvisation. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Cannelle est probablement la piΦce la plus ancienne ▓▌
▓████▓▌ piΦce α figurer sur ce disque et a du Ωtre composΘe ▓▌
▓████▓▌ au milieu des annΘes 70. Je lÆai souvent jouΘe α la ▓▌
▓████▓▌ fl√te (je ne jouais que de la fl√te α cette Θpoque) ▓▌
▓████▓▌ en duo avec le contrebassiste Claude Simard qui fut ▓▌
▓████▓▌ un des membres du groupe NΘbu fondΘ par le pianiste ▓▌
▓████▓▌ Pierre St-Jacques. Le thΦme de Cannelle me fait ▓▌
▓████▓▌ penser α la musique de Dave Holland et je lui ▓▌
▓████▓▌ dΘdie. LÆapparence de simplicitΘ et le caractΦre ▓▌
▓████▓▌ bon vivant presque ½country & western╗ de cette ▓▌
▓████▓▌ piΦce cache en fait des complexitΘs rythmiques et ▓▌
▓████▓▌ harmoniques redoutables pour lÆimprovisateur. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Michka a ΘtΘ crΘΘ par le trio pour la musique du ▓▌
▓████▓▌ film La position de lÆescargot de Michka SaΣl. La ▓▌
▓████▓▌ musique de ce film a ΘtΘ crΘΘe par le trio Derome ▓▌
▓████▓▌ Guilbeault Tanguay presque entiΦrement en ▓▌
▓████▓▌ improvisation libre α lÆimage (α la maniΦre de ce ▓▌
▓████▓▌ quÆα fait Miles Davis pour le film Ascenseur pour ▓▌
▓████▓▌ lÆΘchafaud de Louis Malle) par contre Michka avait ▓▌
▓████▓▌ ΘtΘ enregistrΘe comme musique de fond pour faire ▓▌
▓████▓▌ croire que le personnage principal Θcoutait un ▓▌
▓████▓▌ disque de jazz. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ *************************************************** ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ The Trio is formed of Jean Derome on saxophones and ▓▌
▓████▓▌ flutes, Normand Guilbeault on doublebass and Pierre ▓▌
▓████▓▌ Tanguay on drums. These three musicians enjoy a ▓▌
▓████▓▌ strong reputation on the Montreal music scene and ▓▌
▓████▓▌ even though they are mostly known as new music and ▓▌
▓████▓▌ jazz musicians, they are often spotted accompanying ▓▌
▓████▓▌ our best singers-songwriters, poets, filmmakers, ▓▌
▓████▓▌ choreographers, etc. Already active for almost a ▓▌
▓████▓▌ decade, the Derome Guilbeault Tanguay Trio has ▓▌
▓████▓▌ presented many repertoires in the past: tributes to ▓▌
▓████▓▌ Billy Strayhorn and Charles Mingus; an excursion ▓▌
▓████▓▌ into the Swing repertoire of the æ30s and æ40s, ▓▌
▓████▓▌ with renditions of tunes by Johnny Hodges, Ben ▓▌
▓████▓▌ Webster, Coleman Hawkins, etc.; and more recently ▓▌
▓████▓▌ serious forays into the music of Eric Dolphy, Sonny ▓▌
▓████▓▌ Clark, Misha Mengelberg, Roland Kirk, Lee Konitz ▓▌
▓████▓▌ and Lennie Tristano. The Trio has also played ▓▌
▓████▓▌ concerts entirely devoted to Jean DeromeÆs music ▓▌
▓████▓▌ (particularly as part of his April 2000 Exposition ▓▌
▓████▓▌ de Musique at the ThΘΓtre La Chapelle). A growing, ▓▌
▓████▓▌ faithful audience follows the Trio everywhere it ▓▌
▓████▓▌ performs and the concerts attract an impressive ▓▌
▓████▓▌ number of young jazz musicians. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ ▓▌
▓████▓▌ A cult Montreal jazz band, Trio Derome Guilbeault ▓▌
▓████▓▌ Tanguay is loved for its irresistible swing, ▓▌
▓████▓▌ audacity, sophisticated group playing, highly ▓▌
▓████▓▌ original repertoire and authentic style. All these ▓▌
▓████▓▌ elements are the result of a vast comprehension of ▓▌
▓████▓▌ the history of jazz, not to mention a vigorous ▓▌
▓████▓▌ proposition as to its reinvention. With this first ▓▌
▓████▓▌ album, the Trio delivers ten new compositions by ▓▌
▓████▓▌ Jean Derome. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Each note of the bass line in Marcher sur des ▓▌
▓████▓▌ braises (Stepping on Hot Coals) has been written ▓▌
▓████▓▌ slightly before the beat, as if one wanted to touch ▓▌
▓████▓▌ the stove element (or to step on hot coals!) and ▓▌
▓████▓▌ was afraid to get burned. The structure of the ▓▌
▓████▓▌ piece is rather standard (it evokes Impressions or ▓▌
▓████▓▌ So What), but the shifts between 8-bar and 6-bar ▓▌
▓████▓▌ sections give it a distinctive drive. ▓▌
▓████▓▌ ▓▌
▓████▓▌ As indicated by its title, VΘrone (Verona) was ▓▌
▓████▓▌ written in Verona, Italy, while on tour with Fred ▓▌
▓████▓▌ Frith and Keep the Dog in the early æ90s. The piece ▓▌
▓████▓▌ is built over a D pedal but presents different ▓▌
▓████▓▌ modal colors, particularly in the B section where ▓▌
▓████▓▌ the harmony explores modes in a tense relationship ▓▌
▓████▓▌ with the fundamental. Each musician is constantly ▓▌
▓████▓▌ presented with the option to play the ostinato or ▓▌
▓████▓▌ to play a slow or double-time walking line. The A ▓▌
▓████▓▌ section is in 4/4, but there is a 3/4 bar hidden in ▓▌
▓████▓▌ there somewhere in order to destabilize the ▓▌
▓████▓▌ jazzmenÆs tendency to play on auto-pilot. The B ▓▌
▓████▓▌ section is in 7/4. ▓▌
▓████▓▌ ▓▌
▓████▓▌ LÆAfricaine (The African) adopts a meditative mood ▓▌
▓████▓▌ established by an ostinato bass riff switching ▓▌
▓████▓▌ between 6- and 7-beat bars. The head consists of ▓▌
▓████▓▌ only a few notes followed by an ever-changing modal ▓▌
▓████▓▌ improvisation inspired by the flexibility and ▓▌
▓████▓▌ rhythmical creativity of African singers. As for ▓▌
▓████▓▌ Pierre TanguayÆs percussion work: he is playing on ▓▌
▓████▓▌ the wood logs used to heat the cottage where we ▓▌
▓████▓▌ were recording the album. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Pangolin is an old composition. It has rarely been ▓▌
▓████▓▌ performed live, but I often play it on the piano. ▓▌
▓████▓▌ The head appears three times, but the accompaniment ▓▌
▓████▓▌ for the third occurrence shifts from 12/8 to 4/8 ▓▌
▓████▓▌ time, giving the impression that the floor has just ▓▌
▓████▓▌ vanished under your feet. The pangolin is a large, ▓▌
▓████▓▌ massive, slow and short-legged mammal resembling an ▓▌
▓████▓▌ anteater or wolverine with scales. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ╔tymologie (Etymology) goes back to the early æ80s. ▓▌
▓████▓▌ It was written as a tribute to Ornette Coleman. The ▓▌
▓████▓▌ piece is only 7 bars long and is highly difficult ▓▌
▓████▓▌ in terms of rhythm and harmony, mostly because of ▓▌
▓████▓▌ the rhythmic shifts of the chord chart. The head is ▓▌
▓████▓▌ reminiscent of the speech-singing style of some of ▓▌
▓████▓▌ OrnetteÆs heads, but it also refers to Monk. ▓▌
▓████▓▌ ╔tymologie was embedded in the piece Les Aventures ▓▌
▓████▓▌ de Sacha le chat, released on the LP Le retour des ▓▌
▓████▓▌ Granules. ▓▌
▓████▓▌ ▓▌
▓████▓▌ La baignade (The Swim) was written for Jeannine ▓▌
▓████▓▌ GagnΘÆs film Au fil de lÆeau. The piece is built ▓▌
▓████▓▌ over a bass ostinato switching rather unpredictably ▓▌
▓████▓▌ between bars in 5/4 and 6/4. The head introduces ▓▌
▓████▓▌ more rhythmic rifts, including some 5/8 figures ▓▌
▓████▓▌ dancing and hovering over the bass line. ▓▌
▓████▓▌ ▓▌
▓████▓▌ QueÆkun! (SomÆone!) is the word my daughter ▓▌
▓████▓▌ Raphaδlle used to utter as a baby whenever she ▓▌
▓████▓▌ heard someone at the door. I also remember she used ▓▌
▓████▓▌ to say "noune" for mouche (fly) and "wawane" for ▓▌
▓████▓▌ fromage (cheese). The 3/4 piece is in AAB form, but ▓▌
▓████▓▌ the B is only subtly different from the A. QueÆkun! ▓▌
▓████▓▌ evokes an unknown and unexpected visitor knocking ▓▌
▓████▓▌ at the door; he represents both a threat and a ▓▌
▓████▓▌ chance for change. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Fluide (Fluid) is a piece without any fixed bars, ▓▌
▓████▓▌ written α la a Gregorian theme. Saxophone and bass ▓▌
▓████▓▌ play the head to the octave, and then the several ▓▌
▓████▓▌ scale options opened by the head are investigated ▓▌
▓████▓▌ and freely developed through improvisation. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Cannelle (Cinnamon) is probably the oldest piece ▓▌
▓████▓▌ appearing on this album; I must have written it in ▓▌
▓████▓▌ the mid-æ70s. I often performed it on flute (I only ▓▌
▓████▓▌ played the flute back then) with the bassist Claude ▓▌
▓████▓▌ Simard, who played in NΘbu, the group started by ▓▌
▓████▓▌ the pianist Pierre St-Jacques. CannelleÆs head ▓▌
▓████▓▌ reminds me of the music of Dave Holland and I ▓▌
▓████▓▌ dedicate it to him. The apparent simplicity and the ▓▌
▓████▓▌ jovial, almost ôCountry & Westernö mood of the ▓▌
▓████▓▌ piece hide in fact some fearsome rhythmic and ▓▌
▓████▓▌ harmonic complications. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Michka was premiered by the trio for the music of ▓▌
▓████▓▌ the film La position de lÆescargot by Michka SaΣl. ▓▌
▓████▓▌ The music of this film has been composed by the ▓▌
▓████▓▌ Derome Guilbeault Tanguay trio, almost entirely by ▓▌
▓████▓▌ freely improvising to the images (the same method ▓▌
▓████▓▌ Miles Davis used for Louis MalleÆs film Ascenseur ▓▌
▓████▓▌ pour lÆΘchafaud), except for Michka, which had been ▓▌
▓████▓▌ previously recorded to be used as background music ▓▌
▓████▓▌ in a scene where the main character is listening to ▓▌
▓████▓▌ a jazz record. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
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