If Leandre comes off as a little strident, that's because she, at times, is. But she's not a total cynic. She sees an egalitarian spirit in free improvised music (even if she rejects the term) that she says hasn't existed in the other arts.
"To be a woman, a lesbian, helped me maybe, I don't know," she said. "Women in art are seen as witches or crazy or homosexual. It's probably true, by the way. But improvisation is human, it's expression, there's no hierarchy, no gender. Free music? I contest this name. We are not free. Especially musicians. How can you be free when you have a position, the sound of your instrument, a memory?"
That is, for Leandre, the often debated line between jazza lineage that stretches back to Satchmo and Birdand the spontaneous, if nebulous, arena of open improvisation.
"Never will I play the role of a bass in jazz because I am too much of an anarchist and the men do that," she said. "I create my way to be me. I feel more authentic if I play what I play than if I play like somebody. This is your classical music, jazz. I respect it, but it's not my tradition."
And for Leandre, that approach to playing her instrument is also a credo for living her life.
"I could say now with simplicity that I built my life by myself to meet people and fall in love," she said. "I think that's my lifeto go to a person and say "Who are you?" Because I know who I am, I am so a bassist. Life is all this contradiction and tension and it's exactly like that when we play. To be alive and open and fragile every dayfor me, life is that."
Francois Houle/Joelle Leandre/Raymond Strid9 Moments (Red Toucan, 2006)
Joelle LeandreConcerto Grosso (Jazz Halo, 2005)
Joelle Leandre/India CookeFiredance (Red Toucan, 2004)
Joelle Leandre/Marilyn Crispell/Paul Lovens/Richard Teitelbaum, The Joelle Leandre Project (Leo, 2000)
Joelle Leandre, No Comment (Red Toucan, 1995)
Irene Schweizer/Maggie Nicols/George Lewis/Joelle Leandre/Gunter "Baby" SommerThe Storming of the Winter Palace (Intakt, 1985)