In Mea Shearim, een ultra-orthodoxe wijk van Jeruzalem, wonen twee zusters die gebukt gaan onder de strenge leefregels van hun godsdienst
Een eerbetoon aan Duke Ellington door Louis Sclavis met zijn sextet. Met vooral composities aan Duke Ellington in, uiteraard, een heel eigen interpretatie van het sextet (GR, Muziekbank).
"Louis Sclavis's first outing in a trio format is so successful that we are left wondering why he did not try this formula earlier. It appears to be such an appropriate setting to fully appreciate his impressive improvising skills. Although the opening track features Louis Sclavis on soprano saxophone, this session is primarily a stage for his clarinet playing - mainly, bass clarinet. "Qumrân" is a wonderful unaccompanied bass clarinet solo built on a thread of loops. Seconded by two faithful collaborators, bassist Bruno Chevillon and drummer François Merville, Sclavis surely gets adequate support. Both musicians provide an intricate and supple foundation, never relying on the same pattern. They are also very attentive musicians who can react at once to the leader's moves, and contribute some ideas of their own. Ceux Qui Veillent La Nuit is the perfect place to sample Sclavis' original work and various approaches to his instrument." (Allmusic)
Intrigerend, vol fascinerende contrasten: Sclavis' klarinetspel put vaak uit diverse folkvormen, van Mederic Collignon komen weemoedige trompetlijnen, maar ook freaky (stem)improvisaties, Vincent Courtois' cello geeft juist kamermuziektrekjes.
Opname: 2008
"Emerging on the scene in the mid-1980s, Sclavis worked with artists like Henri Texier, Peter Brötzmann, and Cecil Taylor. But while these associations would correctly suggest a penchant for free improvisation, Sclavis has always been compelled by more finely-hued structures steeped in the musical traditions of his own country and contemporary classical composition. (...) When Sclavis played with his Napoli's Walls project in Victoriaville, Canada in the spring of 2004, one of the most remarkable aspects to the performance was the quartet's ability to seamlessly shift gears from unfettered free play to strict form, with cues so invisible as to seem nonexistent. Hard enough, no doubt, to pull off with a smaller ensemble like the one on Napoli's Walls, here it's even more uncanny." (All About Jazz, 4 uit 5 sterren)
"Bassist Henri Texier leads an all-star quintet bolstered by the presence of special guest Joe Lovano on tenor sax in this live 1986 recording. While Texier either wrote or co-wrote many of the selections, he amply features his musicians while not taking much of the solo spotlight for himself. The leader's energetic post-bop cooker "Zentral Motiv is a potent opener, highlighted by strong solos from Lovano and Louis Sclavis on soprano sax. The eerie "Baton Rouge" is a slow-to-develop group improvisation, with guitarist Philippe Deschepper prominent in the mix and explosive bursts by Sclavis on bass clarinet. The four-part suite "Grillage" blends several different contributions by the quintet's members. "Paris Batignolles" is a joyous celebration, with the blend of reeds almost suggesting an accordion. This fun-filled concert is warmly recommended." (Allmusic)
De Franse klarinettist schreef muziek bij de film 'Dans La Nuit' uit 1929 van Charles Vanel. Slavis, grote naam der Franse 'folk imaginaire', gebruikt strijkers en accordeon in meeslepende sfeermuziek die helt naar klassieke kamermuziek.
"An example of user friendly avant-jazz. It's Free but structured, with obvious connections to the most straightahead jazz, a sense of melody influenced by popular Portuguese song forms and a European flavour. In the recent past, double bassist Carlos Barretto had the companionship of the French champion of the baritone, François Corneloup, and now, on three tracks we have clarinetist and saxophonist Louis Sclavis, also from France, as special guest. And of course these tunes have everything to do with Sclavis love of the imaginary folk he invented in the past with the band Workshop de Lyon. And for one more example of the internationalization of Portuguese jazz, youll find here two other local musicians deserving wider recognition: guitarist Mário Delgado, a Jimi Hendrix disciple who knows his jazz chops, and drummer José Salgueiro, a master of pulsation and tempo who is also concerned with texture." (Clean Feed)
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