françois carrier | compassion

Approdato alla sua terza incisione discografica in dieci anni d'attività in trio, l'altosassofonista canadese François Carrier offre in Compassion una coraggiosa sfida intellettuale pregnate di quella spontanea musicalità e prontezza di ricerca che ha pochi eguali nel clima distorto e gratuitamente dissacrante di certa consolidata attualità. Il più che semplicistico accostamento ai giorni felici di Coleman, Dolphy e Coltrane nasce spontaneo ma è anche strettamente lagato al suono tenoristico, inquieto e talvolta ribelle scaturito dalla forte personalità del sassofonista. Disco caratterizzato da una natura modale e misuratamente contemplativa, il lavoro cede poco ai compromessi rivendicando un'assoluta libertà profusa dal trio (più l'ospite Amirault), compiutamente e con dirompente ed energica poesia.

Canadian alto sax player François Carrier has pulled together a very talented group of musicians to transform poetry in a global context into music. This CD bears an inescapable constancy of texture.I appreciate every approach to the idea of the expression of Compassion on this recording, especially, the title cut which introduces the seven remaining ventures into the improvisatory / compositional exploration of the CD's concept. I also appreciate the fact that Carrier has maintained a certain integrity about the focus - he does not become distracted.Noticeable in the first cut is its remarkable similarity to Coltrane but on an alto: there is a slow statement of the main theme and key changes, intense vibratos, extended arpeggiations, and a sound that comes through the alto that is very much like a tenor would make. I see this as taking away from the piece rather than enriching it. Lambert on drums even makes bridges from one rhythm to another using heavy sticks on the toms and corresponding bass thumping like Jones used to do in Coltrane's quartet; the piano lands chords at the same time as the drums sound. This is not unlike Tyner's chordal correspondence with Jones that lends a heavy impact to the predominant pitches. There is a switch in timbre through the playing of the bass and piano that continues until Carrier reintroduces the tune, which is quite beautiful, and which he wrote.The last cut is the only one that does not begin with the horn. There is a quick pace laid out on the snare and cymbals. The nature of the recording is conservative. And that is perhaps the intention of the musicians.

This third release from the Quebec-based Carrier trio explores the rich vein of possibilities first tapped as hard bop came of age in the 1960s and began to move towards a freer conception. With passionate, uncompromising musicianship, Carrier and company probe these seams between bop structures and the avant-garde to discover fresh improvisational terrain. Carrier's playing evokes the snaking, vocal quality of Eric Dolphy, the idiosyncratic logic of Ornette Coleman, and the acerbic, outward bound post-bop of Jackie McLean, in a style that focuses on the sound, not on gratuitous, note-filled flurries. In drummer Michel Lambert and bassist Pierre Côté, Carrier has ideal allies. The supple, staccato rhythms of Billy Higgins, the pulse and intensity of Elvin Jones, and the driving cymbal work of Tony Williams all find personal expression in Lambert's committed playing. Côté, a monstrous talent, is in audible communion with his instrument - its wood, the finish, the strings, the flesh of his hands, and his glorious tone propelling the others to riskier terrain, supporting them and, then, guiding them back. The questing musical spirit evident here has roots in the high-energy and advanced interplay of the Elvin Jones/Jimmy Garrison/Joe Farrell power trio heard on Jones' Blue Note recordings The Ultimate and Puttin' it Together. When pianist Steve Amirault joins in, as he does seamlessly for explorations on three tracks, the most obvious reference point is the John Coltrane quartet of the Impulse years, especially on the title track, which calls to mind "Spiritual" from Live at the Village Vanguard. This is music that deserves to be heard by anyone who enjoys the open-ended possibilities - far from exhausted - of the '60s-era Blue Note and Impulse releases that embraced the avant-garde, but still kept one foot planted in a more structured discipline.

Pour une fois, on ne contestera pas le choix des jurés: le Juno du meilleur album jazz canadien revenait bel et bien à François Carrier. À des galaxies de l'académisme pompeux de certains nominés des années précédentes, Compassion est un véritable coffre aux trésors. Plein de joyaux y figurent. D'abord, le jeu de Carrier: son saxophone alto s'est carrément détaché du mentor Phil Woods; il explore sans limites et surtout sans complexes. La pièce-titre m'a même rappelé les longs préambules de Pharoah Sanders, c'est bien pour dire... À l'orée d'une brillante carrière (déjè bien amorcée), Carrier et son quatuor acoustique cimentent des ingrédients improbables et en font une mouture hautement digeste. Un tour de force.

This is one of the strongest, best recorded jazz albums I've heard in a long time. Very much in the sixties John Coltrane/Dexter Gordon tradition, due to the soaring, probing sax lines, and equally Elvin Jones-ish in sound and fury. Compassion, is a mature work by a mature ensemble capable of intriguing exploration. Guest Amirault picks his spots nicely so as not to intrude on the basic trio. Sings of greatness, here.

Maintenant dans l'écurie de la dynamique maison internationale Naxos, le Trio François Carrier + 1 (l'"ajout" étant l'excellent pianiste néo-écossais Steve Amirault) suscite facilement notre adhésion avec cette oeuvre forte et dense, habilement amenée par la langoureuse pièce-titre, laquelle se démarque, entre autres, par son développement des plus naturels et plusieurs improvisations inspirées. À souligner aussi la très grande communion entre les musiciens: chaque matériau sonore participe au discours de manière cohérente. Ces pièces de facture très libre du saxophoniste François Carrier sont le fait d'un musicien et d'un créateur de grand talent.

The legacy of the deeply moving and spiritual John Coltrane, who died in 1967, is alive and well, judging by this Juno Award-winning CD by alto sax player François Carrier. The CD was chosen Sunday as Canada's top instrumental jazz album and Coltrane is the model in this suite of eight originals. It's an intense musical excursion, where the search is as important as the destination.The tunes are alternatively hard-hitting and open, varying in structure from blues to modal, never predictable, always challenging. Carrier likes to repeat phrases for effect, sometimes playing against the pulse for added drama. As the melodies twist and turn, drummer Michel Lambert and bassist Pierre Côté develop their own visions, deconstructing a line, then rebuilding. Pianist Steve Amirault, who guests on three cuts, expands on Carrier's ideas adding depth to this spiritual voyage

Belle mouture. À travers le foisonnement parfois un peu erratique du jazz contemporain, surgissent quelques morceaux surprenants qui vous arrêtent net et qui vous tiennent béat jusqu'à la dernière mesure. Compassion, le troisième CD du trio François Carrier, nage précisément dans ces eaux-là. "Trio + 1", en fait, puisque le saxophoniste alto a convié le pianiste Steve Amirault sur trois des huit titres de l'album. Pour le reste, l'équipage reste inchangé depuis près de trois ans: Pierre Côté à la contrebasse et Michel Lambert à la batterie. Pour les fans de musique improvisée, ce seul alignement parle par lui-même. Encore faut-il ajouter que dans le sillage de Poursuite (1994) et d'Intuition (1997), Carrier se donne littéralement un nouveau souffle. Plus comme improvisateur que comme compositeur, cependant. Sur ce CD marqué au premier chef par une grande liberté d'exécution, tout est affaire de chimie, d'écoute mutuelle et d'interdépendance tissée serrée. Le menu est varié, truffé d'emprunts aux rythmiques africaines, aux lignes mélodiques orientales, bâti sur un swing quasi constant qui dévie à l'occasion sur de fort belles structures "bluesées". On y retrouve avec délice le Pierre Côté magicien mélodiste de la contrebasse, qui nous sert quelques-unes de ses plus belles prestations sur des pièces comme Quest et Surrender. À la batterie, Lambert allie bien son double rôle de père fouettard et de complice attentif dans un jeu polyrythmique ici assez traditionnel. Quant à Amirault, ses trois participations apportent à l'ensemble une richesse harmonique lumineuse. Du début à la fin, le saxo de Carrier, à la fois souple et très énergique, se déploie en toute fantaisie. Pas de moment mort. Quelques virages négociés serrés. Du bon jazz servi de toute évidence avec le plus grand plaisir.

Eight Carrier originals showcase excellent interplay and sparkling improv, the music ranging from sweeping soulful melodies on the opening title piece, intensely played over busy drum salvos, to numbers that are cheerily upbeat, even playful... (a) dramatic, taut and forcefully impressive disc"

D'ENTRÉE de jeu, le saxophone alto de François Carrier met la table coltranienne. Le son est costaud, hurlant, cette musique repose sur une quête de lumière, d'énergies libératrices, de compassion. Ces structures simples permettent une liberté maximale à l'improvisateur-soliste. Les mesures s'enchaînent, on oublie progressivement les comparaisons stylistiques. Car il y a là une variété de références. Les cellules rythmiques peuvent effectivement devenir plus latines. Puis monkiennes. Puis ces musiques se déconstruisent, se démembrent, reprennent forme, décollent, s'envolent jusqu'au blues pour ensuite effectuer des loopings arabisants. Le son charnu et le le phrasé impeccable de la contrebasse (Pierre Côté) se font remarquer. Manifestant une écoute attentive, le batteur Michel Lambert procure à l'ensemble la pulsation nécessaire à de très beaux emportements. Invité spécial, le pianiste Steve Amirault s'avère encore plus mature, plus singulier. À 39 ans, François Carrier a fini par circonscrire son entière expression. Il pourra passer le reste de son existence à la peaufiner.

This CD, the third from this marvelous alto player/composer, should garner him worldwide recognition, as it's his first for a label available worldwide. For five of the eight tracks he is heard in his usual trio setting--the unsung Pierre Cote, a constant on all three outings, is the bassist and the highly creative Michel Lambert the drummer. To add contrast, the world-class Steve Amirault, the most interesting pianist currently toiling on the Montreal scene, is the "+1" in the title. An edgy and musical effort." 9 out of 10 rating.

Openness and love. A luminous melody rises like a prayer. The soulful voice of the saxophone flows over the powerful drums and piano. Deep inspiration and bursting intensity. An African rhythm leads to a dance of peace. Total playing for an inventive piano solo. And return to the meditative song flying high. Transcendent. MOKSHA. Liberation, in Sanskrit. Lively theme and energetic swing. Unfailingly imaginative saxophone. Quick interaction of drums and double-bass. A joyful blend. MIND AT PLAY. François used to say: "Let's play as if we were children in a sandbox!" So here they are for a ludic musical exploration. Playful. LO. Means "Heart and Spirit". A slow blues with a modern harmony. Sax and piano in turns creating a melodic line. Dissolution of the rhythm leading each instrument to an impressionistic playing. Like touches of light. Surprising. THE STREAM. Arabist intonations for an undulating melody. An obsessive riff on the bass. The saxophone turning and turning to trance. Mind-blowing. QUEST. Bright theme and driving swing. Tireless saxophone. Energetic drums soloing with mastery. Fascinating double-bass. Can't help following them. SURRENDER. Rhythmic theme for sax and drums turning to a blues with calls and responses. Superb melodic playing on double-bass. Enjoyable. NYING JE. For Tibetans, that means love, tenderness, coming from the heart, spirit, generosity, friendship, sympathy, kindness and compassion between one and others. Swing and joy in unison. Original melodic lines on the piano. Saxophone rising. Energetic unstoppable walking bass. Rich drums playing. And lyrical flights of the saxophone leading to a splendid whirling.

Delightful. Born from a rare quality of presence and from respectful mutual listening, COMPASSION is a living current. Hoping you will have as much pleasure listening to the music of the François Carrier Trio+1 as they manifestly had playing it.