L’Orkestre des pas perdus: T’auras pas ta pomme: reviews

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T’auras pas ta pomme

L’Orkestre des pas perdus: Jolicœur, Leclerc, Levasseur, Richer, Sabourin, St-Jean

T’auras pas ta pomme

Ambiances Magnétiques | AM 040 | 1996

CD 25.00 CA$ [?]

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Review

by Milo Fine in Cadence #23:2 (USA), February 1, 1997 |1183|

“… precise ensemble execution and spirited solos.”

Infused with march, polka and circus materials, L’Orkestre’s Jazz-rock stage band persona is unapologetically upbeat. For the most part steering clear of any so-called modernisms the group relies on precise ensemble execution and spirited, if conservative, solos to get its point across; the essence of that point being nicely summed up in the closer’s broad reference to The Tiger Rag.


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Review

by L F in Megafon #1 (Portugal), September 1, 1996 |1902|

Este primeiro registo de L’Orkestre des pas perdus, projecto assinado pelo trombonetista Claude St-Jean. of efece-nos o tipo de música que se pode ouvir com prazer nos dias em que não apetece lazer outra coisa a não ser preguiçar, junto de uma chávena de chá, por exemplo, numa festiva tarde de domingo. Por doze temas onde se cruzam variadas influencas desde o jazz e do funk até ao género de musica que se ouve nos circos e fentarras, sons originais jovialmente entrelaçados por um trombone, um trompete, dois saxofones, uma bateria e um sousafone, resultam num agradável conjunto de composições vivas e coloridas.


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Spins

by Jim Little in Hour (Québec), June 1, 1996 |1905|

L’Orkestre des pas perdus is a kind of alternative brass (and reeds) band led by trombonist Claude St-Jean, with Jean Sabourin (sousaphone), Ivanhoe Jolicoeur (trumpet and flugelhorn), Paul Richer (tenor sax), Jean-Denis Levasseur (alto sax and piccolo), and Remi Leclerc (drums). All the tunes are by St-Jean, mixing elements of New Orleans jazz, burlesque, musique actuelle, and humour. An example of the latst shows up on the back cover in the three squares that normally indicate whether the recording, mixing, and mastering were analogue (A) or digital (D). Here the code is OPP. Musical highlights include the truckin’ groove of Déménagement, and the olio furnishings of La salle des pas perdus. 3/5


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Review

by François Couture in All-Music Guide (USA), May 3, 1996 |2076|

“Leader Claude St-Jean has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings.”

L’Orkestre des Pas Perdus’ first CD was released in 1996 on Ambiances Magnétiques, a label devoted to avant-garde music. T’auras pas ta pomme (the phrase itself means very little, it is used as an onomatopoeic expression for a drum roll) presented a very original recipe. Leader Claude St-Jean, a trombone player, has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings. The instrumentation of trumpet, trombone, two saxophones, sousaphone and drums can pack a lot of energy into four-minute tunes. Most pieces follow the fanfare-funk trail and, to some extent, are interchangeable: a groovy beat, a tutti riff, horn cues and solos. The music gets close to Maneige on La marche à Marie B. thanks to a very pied-piperesque piccolo melody. Elements of dissonance and free improvisation are integrated into La salle des pas perdus, but T’auras pas ta pomme is mostly one hot lick after another. The last piece, Acide cirque, takes the band sound’s into circus music. L’Orkestre des Pas Perdus’ follow-up album Maison douce maison will be more accessible and focused than this one.


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Review

in Rubberneck #23 (UK) |1904|

T’auras pas ta pomme is about as straight-ahead a project as I’ve heard on the Ambiances Magnétiques label. A 6-piece brass outfit with drummer; sousaphone takes the bass figures and the jazz horns produce the marches, dance themes, circus stuff. Occasional eccentric touches, like track 8, recall the anarchic fun and games of Goebbels & Harth’s Soegenanntes Linksradikales Blasorchester, Loose Tubes, George Ricci & The Improverts or even Zappa’s Grand Wazoo. Solid playing that swings like a bigger band, but not unruly enough for my ears to sustain too many hearings.


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Critique

by Pierre Durr in Revue & Corrigée (France) |1025|

“Illustré par une photo un peu floue de majorettes armées de tambours, cet orchestre des “pas” perdus réussit parfaitement à afficher son côté anti-militaire: essayez un peu de marcher au pas (pas perdu) au rythme de ce que nous propose cette fanfare québécoise!”

Illustré par une photo un peu flou de majorettes armées de tambours, cet orchestre de “pas” perdus réussit parfaitement à afficher son côté anti-militaire: essayez un peu de marcher au pas (pas perdu) au rythme de ce que nous propose cette fanfare québécoise! Composée de six musiciens (dont on a pu entrevoir certains - Rémi Leclerc, Jean-Denis Levasseur, Claude St-jean - au sein de Miriodor, de Locomotive, ou en compagnie de Lussier, Derome et autre Côté), celle-ci se veut avant tout ludique et festive, n’hésitant toutefois pas à emprunter quelques chemins de traverses.


other texts in

  • Minimal #13 (Portugal), November 1, 1996
  • Margen #8 (Spain), December 1, 1996
  • Informator “Ars” 2 #20 (Poland), January 1, 1997

L’Orkestre des pas perdus: T’auras pas ta pomme: reviews

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