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: \/ F A N G \ / : '
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\ / presents \ / .
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: Artist......: Franτois Houle 4
: Album.......: Recoder :
: Label.......: Songlines Recordings .. .:.. .
Genre.......: Jazz :
Catnr.......: SGL1632-2 .
' Source......: CD ,
; Rip.date....: 2020-12-09
Str.date....: 2020-08-21
Quality.....: 237kbps/44.1kHz/Joint Stereo . :..
.:. Url.........: http://www.francoishoule.ca '
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\ / # title time \ /
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1. Prelude 0:40
2. The Black Bird 5:34
3. Interlude 1 0:33
4. Big Time Felter 6:41
5. Interlude 2 1:39
6. Canyamel 3:44
7. Interlude 3 1:41
8. Recoder 9:52
9. Interlude 4 1:14
10. Bowen 6:31
11. Interlude 5 1:38
12. Morning Song 1 (for Ted Byrne) 7:23
13. Interlude 6 1:02
14. Baseline 5:01
15. Postlude 0:38
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\ / ________ Runtime 53:51
,\ /... . . .... .... \ / ' Size 100.41______
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: Release Notes: \/ , \/ ,
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,: Genera, by Franτois Houle 5+1 (2012) was the Canadian :,
: clarinetistÆs last ambitious creative jazz project, though :
:' 2018Æs Houle/Hawkins/Eisenstadt trio You Have Options was ':
,: lovely and exemplary in its own way. But last year he started :,
: working on a new group including Vancouver guitarist Gordon :
:' Grdina (the two go back together more than 15 years and most ':
,: recently were co-leaders of Ghost Lights) and two outstanding :,
: improvisers who had not previously featured in his bands. The :
:' music is rhythmically driven, with GrdinaÆs incendiary guitar ':
,: playing matched by Mark HeliasÆ fluid bass lines and Gerry :,
: HemingwayÆs propulsive, unconventional drumming. Following a :
:' rigorous compositional process, RECODER was designed to ':
,: highlight the musiciansÆ infectious virtuosity and to tackle :,
: ideas inspired by a wide range of influences, from Miroslav :
:' Vitous, Olivier Messiaen and Jimmy Giuffre to Anthony Braxton. ':
,: Houle is also an accomplished and busy classical, new music and :,
: world music performer and a noted composer-performer of :
:' electroacoustic clarinet music. When he turns his focus to ':
,: avant jazz, this unusually broad range of musical experience :,
: inevitably contributes to the musicÆs interest. :
:' ':
,: The key for Houle lies in the ôcastingö and subsequent :,
: compositional process: ôMy goal was to create a music that would :
:' challenge the musicians, but always in full respect and ':
,: understanding of their own personal affinities. In Genera I :,
: would allow myself to put two contrasting ideas together, and :
:' create ætransitionalÆ spaces to link them, creating longer, ':
,: suite-like miniature tone poems. In RECODER I wanted the ideas :,
: to be succinct and focused. I did more revisions and experiments :
:' than I would normally, in order to be convinced that the ':
,: choices I made were indeed the most appropriate ones. Once in :,
: rehearsals, and at the studio, there was yet another level of :
:' probing in order to really squeeze out the full potential of an ':
,: idea. The musicians were in some ways relentless in their :,
: pursuit of that. In their solo contributions and improvisations :
:' on this album, I felt that the they found some truly creative ':
,: and imaginative ways to interpret the material, and to support :,
: each other in weaving a coherent canvas for self-expression.ö :
:' ':
,: ôMy writing style leans heavily on the juxtaposition of melodic :,
: threads, from which harmonies and structural elements emerge. It :
:' is in part based on my affinity for classical counterpoint, but ':
,: more directly on my affection for a certain kind of jazz and :,
: improvised music û the chamber music-like interplay heard in the :
:' Jimmy Giuffre TrioÆs seminal albums Fusion and Thesis, and in ':
,: Steve Lacy and Gil EvansÆ Paris Blues album. I am also indebted :,
: to Anthony Braxton for his teachings and writings on creative :
:' and re-structural concepts. In these recordings the harmony and ':
,: rhythm are very often defined not by the archetypical roles of :,
: the instruments (bass plays a bass line, the piano plays chords, :
:' etc.) but rather by a complex layering of melodic threads from ':
,: which harmonies and rhythmic aspects emerge through the :,
: interplay between the protagonists. ThatÆs what IÆm after in my :
:' own writing. The music is conceived very methodically, with ':
,: pitch cells, tonal key areas that are constantly shifting, and :,
: rhythmic figures that I stretch and compress following a :
:' pre-established yet flexible compositional matrix. But rather ':
,: than dictating what the mood or spirit of the music should be, I :,
: let the compositional ideas lead the way and take me down some :
:' path where a range of emotions emerge. The intellect eventually ':
,: takes a backseat to what the music expresses, and I navigate :,
: that fine line between territories.ö :
:' ':
,: ôGerry and I talked about the magical, the unexpected, about how :,
: does one arrive at a musical composition that is evocative and :
:' surprising, while observing traditional morphologies and ':
,: stylistic identifiers. I wanted to write pieces that reflected :,
: my sound world, but with a focus on the transformational. Gerry :
:' suggested Miroslav VitousÆ 2003 ECM recording Universal ':
,: Syncopations [featuring Garbarek, McLaughlin and DeJohnette] as :,
: an example of a recording he felt conveyed that. As a listener, :
:' you marvel at the ingenuity of the result while wondering how ':
,: the musicians got to that end. ItÆs an absolutely mesmerizing :,
: album in so many ways. Very orchestral in scope, yet very :
:' intimate and soulful. It would be a conceit to compare my ':
,: writing to what these masters have created, but IÆd say the :,
: similarities are in the act of trying to find fresh new ways to :
:' express the human spirit in sound.ö ':
,: :,
: ôThe duets are all free improvised, short, single takes. Mark :
:' and I spent about two hours just playing, having fun talking to ':
,: each other in clarinet language! I was looking to balance the :,
: highly structured pieces with something more spontaneous and :
:' free.ö ':
: '
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