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Album Review

One of the finest contrabassists on the planet gets together with a trombonist who is no slouch, and the results are a wonderful CD. The players keep moving on as the pieces progress, and although they are titled similarly there is a world of difference between them. Both players seem able to do anything they want on their instruments, including making them sound like other instruments. So if the idea of a bass and trombone working out together sounds unappealingly low, even in a moody sense, bear in mind Mademoiselle Leandre can play as high as a country fiddle, with better intonation, and the trombonist can sound like a mariachi trumpeter or a prima donna bumblebee. Oh, and they also sing on some tracks, Leandre sometimes coming about as close to Louis Armstrong as a French woman could. The sense of humor is appreciated, as is the attention to detail, so rich in some sections of playing that the individual sounds have all it takes to stand up as pieces in their own right.


Born: 12 September 1951 in Aix-en-Provence, France

Genre: Jazz

Years Active: '70s, '80s, '90s, '00s, '10s

Contrebassist and improviser Joëlle Léandre counts John Cage among her close mentors and has remained under-acknowledged for the amount -- and quality -- of her work since she began recording in 1981. Léandre has performed and recorded with many of the best, and most interesting, musicians in improvised music, including German bassist Peter Kowald, American reedsman and composer Anthony Braxton, Swiss pianist Irène Schweizer, Australian violinist Jon Rose, vocalist Lauren Newton, and British guitarist...
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E'vero, Joëlle Léandre
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