Po płytach "Hyprcub: Crooked House" (2015) i "L'Orphicube: The Atomic Flonflons" (2017), w 2021 roku trafia do nas album "Le Gros Cube #2" w swej big bandowej formule nawiązujący do płyty "La Martipontine" z 2005 roku.
Koncepcyjny program albumu w całości przygotowany został przez Albana Darche, któremu w nagraniach towarzyszy 16 muzyków. Wśród nich znajdziemy takie nazwiska jak: Matthieu Donarier (saksofon, klarnety), Geoffroy Tamisier (trąbka), Samuel Blaser (puzon), Sebastien Boisseau (kontrabas), czy Christophe Lavergne (perkusja).
Wydawcą płyty jest francuska wytwórnia płytowa Yolk Records, założona w 1999 roku i prowadzona przez kontrabasistę, kompozytora i producenta nagraniowego, Sebastiena Boisseau.
Płyta ukazała się 5 marca.
Robert Ratajczak
LINK: recenzja płyty
___________________________________________________
Alban Darche: Le Gros Cube #2
CD, Yolk Records J2020
program:
1. A la bougie
2. Ping-Pong
3. Arcane XV - Le Diable
4. Arcane XVIIII - Le Soleil
5. Le Mort Joyeux
6. Beauty and Sadness II
7. Le chemin (vertueux)
8. L'Oiseau qu'on voit chante sa plainte
9. Arcane XXII - Le Mat
10. Le Cercle
personel:
Alban Darche, Jon Irabagon, Loren Stillman - saksofony
Matthieu Donarier - saksofon, klarnety
Rémi Sciuto - saksofon, flet
Joel Chausse, Geoffroy Tamisier, Jean-Paul Estiévenart, Olivier Laisney - trąbka
John Fedchock, Jean-Louis Pommier, Samuel Blaser - puzon
Matthias Quilbault - tuba
Marie Kruttli - fortepian
Gilles Coronado - gitara
Sébastien Boisseau - kontrabas
Christophe Lavergne - perkusja
__________________________________________________
materiały prasowe:
Le Gros Cube #2, Alban Darche's big band, the new album
BIG BAND AESTHETICS WITH A PERSONAL TOUCH
Interview Alban Darche / Thierry Mallevaës, 2020
Le Gros Cube, number 2?
Number two, because there was a number one. In the wake of Le Cube trio, in the early 2000s, I gathered a large ensemble, Le Gros Cube (14 piece band). The first album "La Martipontine" was released in 2005, followed by Polar Mood, Le Pax, with Philippe Katerine and Queen Bishop with a greater Gros Cube (piano, second drum set and three singers). It lasted about ten years. Since 2012, I've pursued with reduced ensembles as L'Orphicube (9 musicians). With this lighter orchestra, I was able to explore the field of chamber music.
Why do you consider this a rebirth?
With big bands, the special things emerge with the audience. That experience is something that I always cherish. I also wanted to work with a traditional
instrumentation.
instrumentation.
Traditional?
On the first Gros Cube , I had a specific instrumentation, with incomplete sections. For Le Gros Cube #2, I chose an American-style big band: five saxs, four trumpets, three trombones, a tuba, and a rhythmic piano, guitar, double bass and drums.
American-style?
I wanted to play with this tradition. The big band is like a string quartet in classical music: an ideal setup for bringing music to life. This traditionnal ensemble is common to this day because it works best, it's got a great balance. To stay with this tradition, I also decided to record it “live”, everyone in the same room.
And the music itself, American-influenced?
I try to give my own twist for sure, keeping this historical background in mind, with a rooting in the big band sound. In the orchestra, I wanted a few American musicians to share their knowledge and practice: Jon Irabagon and Loren Stillman (saxes), John Fedchock (tbn lead). They've always been doing it forever, that's how they learned music. And many of them play and have played in the greatest big bands in the world, Woody Herman, Maria Schneider, the Liberation Music Orchestra, the Vanguard Jazz Orchestra.
Can you tell us more about the musicians?
Two Swiss with whom I have already carried out several projects: Samuel Blaser (tb) and Marie Krüttli (p), and other familiar faces like the belgian Jean-Paul Estiévenart (tpt). There are also new collaborators like Joël Chausse on the lead trumpet. The other musicians are all long time companions: Sébastien Boisseau (db), Christophe Lavergne (dr), Matthieu Donarier (sax, clar), Jean-Louis Pommier (tbn), Geoffroy Tamisier and Olivier Laisney (tpts), all soloists.
Among all these soloists, where did Alban Darche the saxophonist stand?
Exactly, it was not easy. There's no need to invite musicians of this caliber, to write for them and not to let them play, taking all the solos myself. I opted for the tenor. I'm not the only tenor but it allows me to express myself the best. This stand in the middle of the sax section is central and remains a good place to direct. Entrusting the lead alto to Americans immediately gives the right balance to the sound of the orchestra.
So what is to expect from Le Gros Cube #2?
It is a collection of unpublished pieces and re-orchestrated pieces. With Le Gros Cube #2, I know that I have a fully functional orchestra at my disposal, the set up will make the audience feel at home, giving more space to include more demanding pieces. That's what interests me: coming from common ground to bring more sophisticated ideas. Offering very personal echo in a familiar landscape, or building a complex landscape with obvious tones.
Presse quotes from previous albums
"Intensely coulourful compositions" All About Jazz
"Truly popular and intelligent" Citizen Jazz (ELU)
"Dazzling, of rare density" Jazz News (Indispensable !!!)
"A facetious music" Jazzman (choc)
"Truly popular and intelligent" Citizen Jazz (ELU)
"Dazzling, of rare density" Jazz News (Indispensable !!!)
"A facetious music" Jazzman (choc)
