Clameurs
| Chameurs | ||||
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| Studio album by Jacques Coursil | ||||
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Publication |
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| Label (s) | Universal Music (France) | |||
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Format (s) |
CD |
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Title (number) |
7th |
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running time |
52:12 |
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| occupation |
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Jacques Coursil, Jeff Baillard, Bruno Guermonprez, Daniel Richard |
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Studio (s) |
Fort-de-France |
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Clameurs (dt. Cry ) is a jazz album of Jacques Coursil . The recordings, made in Fort-de-France, Martinique, in summer 2006, were released in July 2007 on Universal Music France.
background
After Coursils comeback album Minimal Brass (Tzadik 2005), an album that was determined with three fanfare, played by solo trumpet and trumpet choir from the sound of the trumpet, is Clameurs the starting point, connects to the Coursil his two main interests: Jazz and linguistics , wrote All about jazz .
In 2006 Coursil returned to Martinique , where he had worked as a university professor between 1992 and 2002, to record his album Clameurs . He combined texts by Frantz Fanon , Édouard Glissant , by Monchoachi , a writer from Martinique, and by Antar or Antarah ibn Shaddad , a sixth century Arab poet, with music ( Quatre Oratorios pour trompette et voix, including prologue and epilogue), which he recorded with Alex Bernard (bass), Jean Obeid, Joby Bernabe (vocals) and a choir (Yna Boulange, Aurelie Dalmat, Mylene Florentini) and Jeff Baillard (arrangement). Mino Cinelus percussion on "Wélélé Nou (Nos Clameurs)" was recorded on July 27, 2006 in the La Seine Studios by Frank Redlich. The percussion in "Epilogue - Cadences de Chaines" was created in August 2006 in New York City, also by Mino Cinelu. Coursil's contributions, in which he “juggles with language without interruption”, are supported in Arabic by Jean Obeid and in Creole by Joby Bernabé.
“It's funny, I always say that I'm not tied to identity,” Corsil said in an interview in 2010, “and suddenly I made a record that has a lot to do with Martinique. But that is exactly the difference between identity, which is an image, and what you are. "
Track list
- Jacques Coursil: Clameurs (Universal Music France 984 748 2)
- Prologue: Paroles Mues 4:03
- Monchoachi, Wélélé Nou (Nos Clameurs) 11:46
- Frantz Fanon 1952 7:02
- La Chanson d'Antar 5:59
- Edouard Glissant, l'Archipel des Grands Chaos “La Traite” 5:34
- Edouard Glissant, l'Archipel des Grands Chaos “Les Îles” 8:11
- Epilogue: Cadences de Chaînes 9:37
- All compositions are by Jacques Coursil.
reception
According to the critic of the Italian edition of All About Jazz , the album "has an epic-narrative character and deals with subjects such as slavery and racism through the trumpet and the voice of the author". Clameurs is not a pure jazz record, but it has its “DNA, black rebellion, enthusiasm and energy. The voice of the trumpet is dusty and delicate like the breath of the air (and this is where current musicians like Erik Truffaz have their roots ), the sounds seem to be layered with harmonics that repeat themselves endlessly ... the music is beautiful and invites you to meditate and to understand the lyrics. ”The focus of the work is the dialogue between trumpet and voice, both stifled and never screamed, which the swallowed screams seem to express and thus denounces the“ impossibility of screaming ”. Clameurs is a heartfelt album, and a lot of evocative power rests on these voices - terrible, serious - and on the words that one can experience as fire, bearer of suffering and rebellion, even if the lyrics cannot be penetrated (because on Arabic or Creole), the author sums up; in all these cases, however, it is the pure sound of the voice and the trumpet that make themselves bearers of meaning and carry the weight of the message of these clameurs themselves.
Mathieu Durand wrote in Citizen Jazz that Jacques Coursil united his two preferences: language and tones, poetry and sound, voice and trumpet. He is continuing his research into forms of expression according to Way Ahead, Black Suite and Minimal Brass, these “connection efforts”. As with all great albums, it is difficult to categorize Clameurs in any way. Minimalistic and simple, the album, conducted by Coursil's trumpet in a masterly voice, distills elementary melodies in its four oratorios, tones that are far from being knitted stretch out like organ points , highlighted by a light reverberation . “ Evidence ” is the term that Clameurs best sums up, that in front of these luminous melodies one has the impression that they could not have been written otherwise. One could even speak of “childlike simplicity”, as we could have written the last compliment on Pablo Picasso , summarizes Durand. The saying that artists over time rather reduced are active will, emphatically confirmed in the person of Coursil.
Web links
- Listing of the album on Allmusic (English). Accessed January 1, 2020.
- Information about the album on the Jacques Coursils website
Individual evidence
- ↑ Stylistic classification according to Allmusic
- ↑ a b Jacques Coursil: Clameurs. All About Jazz, January 29, 2008, accessed June 27, 2020 (Italian).
- ↑ a b Jason Weiss: Interview with Jacques Coursil. Bomb Magazine, June 25, 2010, accessed June 27, 2020 .
- ^ A b Mathieu Durand: Acques Coursil: Clameurs. Citizen Jazz, December 7, 2007, accessed June 27, 2020 .
- ^ Jacques Coursil: Clameurs at Discogs