We’ve never seen anything like it: saxophones, trombone, accordion, bass, percussion and electronics, in all directions, all mutations, superimposed, stratified, split, ventilated, vaporized – vapors. We’ve never seen anything like it, but we know the principle, and these five from all musical directions know it by heart: the freedom to take on multiple forms. Duke Ellington already said that. Crying Out Loud is a quintet based on improvisation around tiny written compositions serving as pretexts for interaction. Fragments of melody, rhythm or texture form an environment in which all the musicians evolve in an organic, interdependent way. Depending on the sound and intention of each individual, the other musicians adapt in the manner of an ecosystem, with premeditated conditions. The key word for this ensemble would be adaptation: adaptation to the context in which the ensemble plays, adaptation to the unknown since none of the musicians have played together before, and adaptation in terms of sound and concept to the particular fragment being performed. The quintet format is all the more interesting as it is asymmetrical and creates an imbalance, whatever happens. What’s more, the ensemble can play like a “regular” band, with the bass inside a rhythm section and two saxophones in the front line. But everything can also be reversed, with three brass instruments against an electronic section. The reason for using fragments as pretexts for improvisation is to draw attention to the infinite possibilities for structuring improvisation, and to the richness of pure sound in defining form.
soon come
