Lauzier, Martel

Sainct Laurens

ET 06
2009

If radio doesn’t appear, it means you haven’t installed the Flash plugin or that your version is too old. You must also activate Javascript.

Radio ›› Sainct Laurens
Sainct Laurens
Brazos (2009), 3m26s [excerpt]
Track 2 from Sainct Laurens
CD: &records (2009) ET 06
1 November 2010
By Henryk Palczewski in Informator “Ars” 2 #51 (Poland), November 1, 2010

Press Clipping

blogue@press-4301 press@4301
1 July 2010
By Gennaro Fucile in Musica Jazz (Italy), July 1, 2010

Press Clipping

blogue@press-4539 press@4539
1 April 2010
By Vincenzo Giorgio in Wonderous Stories #17 (Italy), April 1, 2010

Text

Ne La notte fa (ovvero l’incontro tra due percussionisti (sic) “inquieti assai”, Michel F Côté e a_dontigny) viene preso in considerazione un substrato elettro-rock trasfigurato da un fitto uso di elettronica destrutturante (ad esempio Ritmi di oggetti ma anche le più soffuse Unlisted Card Number e soprattutto Paxil Origami Club) il tutto filtrato da una propensione addirittura “punk” (Bounce Dat ARN). Molto interessanti gli apporti degli ospiti Alexandre St-Onge (basso), Alexander MacSween (batteria) l’immancabile Bernard Falaise (chitarra) e soprattutto Jean René alla viola.

La medesima etichetta (&records) pubblica Sainct Laurens di Philippe Lauzier e Pierre-Yves Martel, opera di abbacinante introspezione timbrica dove i fiati (Philippe) e gli archi (Pierre-Yves) vengono dolcemente molestati da un’elettronica diffusa e soffusa. Nascono così piccole gemme come Brazos, Adda e Alz. Tre parole sussurrate nella penombra elettroacustica.

blogue@press-4131 press@4131
1 April 2010
By Michele Coralli in Blow Up (Italy), April 1, 2010

Press Clipping

blogue@press-4179 press@4179
1 March 2010
By Ken Waxman in The WholeNote #15:6 (Canada), March 1, 2010

Text

“The nine tracks range from lyrical showcases […] to abrasive and gritty scrapes, squeaks and flanges from Martel’s extended strings that contrast with intense, horizontal split-tones from the saxophonist.”

Duo playing is probably the most difficult kind of improvising. Not only must each player depend on only one other to modify or accompany his ideas, but unbridled creativity has to be muted to fit the other musician’s comfort zone. As these CDs demonstrate, skilled improvisers aren’t fazed by the challenge; but the instruments they choose are sometimes unusual. (…)

Pierre-Yves Martel and Philippe Lauzier also mix electro and acoustic timbres - and more - on their CD Sainct Laurens (&records 06). Although Montrealer Lauzier confines himself to saxophone and bass clarinet, Martel, who lives in Montréal and Paris, suggests 17th Century music at points, since he plays the viola da gamba. He’s thoroughly modern elsewhere, preparing his instrument with speakers, contact mics and radios. The nine tracks range from lyrical showcases where Lauzier’s wide woodwind warbles brush up against sympathetic Renaissance-styled string vibrations; to abrasive and gritty scrapes, squeaks and flanges from Martel’s extended strings that contrast with intense, horizontal split-tones from the saxophonist. Defiantly multiphonic, the most characteristic track is Adda. It matches altissimo bass clarinet squeals with animal-like burrowing scratches plus droning oscillations from the plectrumist. Swelling into a cornucopia of stifled reed split tones and pinched string buzzes, the piece rends the sound space with both high and low-pitches before the distinctive parts meld.

blogue@press-4089 press@4089
1 February 2010
By Rigobert Dittmann in Bad Alchemy #65 (Germany), February 1, 2010

Text

Der Saxophonist & Bassklarinettist Philippe Lauzier, bereits bekannt mit Ensemble en pièces, dem Spin Ensemble, Quartetski does Prokofiev etc., tat sich für Sainct Laurens (&06) zusammen mit seinem Quartetski-Partner Pierre-Yves Martel, der für dieses Projekt die Finger vom Kontrabass lässt und statt dessen einer präparierten und kontaktmikrophonierten Viola da Gamba Klänge entlockt. Ich würde ja einmal mehr über Plinkplonking spotten, würden die beiden die Schraube nicht noch ein Stück weiter drehen zu einer Musique concrète instrumentale, bei der die Gambe öfters mal wie die Cartridge Music von Cage klingt, wie ein knarrendes Möbelstück oder ein Daxophon am Spieß. Lauzier bietet entsprechende extented techniques an der Kippe zum You Don’t Have to Call It Music. Dazwischen plonkt Martel aber die Saiten auch so, dass sie wie ein Kontrabass schnurren, den er gleichzeitig mit dem Bogen bezirpt. Und Lauzier rundet dünn geschabte Blastöne zu vollmundig sonoren, die er in die Luft entlässt mit der Sorgsamkeit eines Glasbläsers. Vero und Volta sägen aber derart mit stumpfen Klingen an den Nerven, dass das Zahnfleisch blutet. Danach kann ich zum gepresst dröhnenden Alz nur noch ’Blecheimer’ stammeln. Was, verdammt nochmal, soll ich hier am anderen Ende der Zuckerbrotskala erfahren? Dass man sich fürs Himmelreich auch schon mal auf kleiner Flamme rösten lassen muss?

blogue@press-4057 press@4057

Other texts in

  • La Plume culturelle (France), April 26, 2010
    “Au sortir de ce concert l’auditeur est plutôt marqué par le sens de l’imagination dont font preuve les deux musiciens.”

Some Recommended Items