Each one of French guitarist Marc Ducret's Tower series albums has featured different lineups and instrumentation. With Tower vol. 3, he employs a three-man trombone attack with percussion and piano performers; as stated in the album liners, the band plays comments on the music already played." Therefore, the musicians redevelop and dissect previous works appearing on the first two volumes. At times polytonal via the divergent instrumentation mix, the trombonists' powerful choruses supply interesting contrasts as the band takes on a malleable persona during certain movements. Ducret's signature off-kilter, distortion-laced phrasings and animated single- note lines often steer the ship. ...read more
French guitarist Marc Ducret's new sextet, known also as the Real Thing #3 band, was supposed to mark the end of his Tower cycle of compositions, now spread over four discs and at least five projects: a solo guitar, quartet, quintet and the as-yet- unrecorded 12-member Tower-Bridge orchestra. This project was initiated by Ducret in 2008 as an attempt to mirror a musical texture to a chapter from writer Vladimir Nabokov's Ada," in which he weaves a whole labyrinth made of fragmented memories and correspondences, eventually building a form which in turn leads to his other books, themes and emotions. ...read more
When French guitarist Marc Ducret began to plan his Tower book of works-- Vol. 1 (2010) for a Franco-Danish quintet and Vol. 2 (2011) for a Franco-American quartet (both on Ayler)-- he thought to transpose to his musical world a literary device that writer Vladimir Nabokov used in his 1969 book Ada. In this book, Nabokov weaves a whole labyrinth made of mirrors, memories and correspondences, eventually building a form which in turn leads to his other books, themes and emotions. Ducret, while waiting for the realization of Vol. 3 (for a sextet which has not yet been recorded), began ...read more
Marc Ducret SoloMalmintaloHelsinki, FinlandJaunary 29, 2012 A solo performance is by definition an intense experience, and when the musician is committed to a style which is itself close to impenetrable the result can be bewildering; in this case a performance is bound only by the resourcefulness of the audience. Those attending this penultimate concert of French guitarist Marc Ducret's Finnish tour almost certainly knew what to expect. With the assistance of the French Institute, Ducret had toured three times before, playing Finland's largest musical event (Pori Jazz Festival) with his trio ...read more
Marc Ducret is among the elite group of modern era guitarists who make a significant imprint on roads previously navigated, with a penchant for exploring bewildering musical vistas. His unique instrumental voice has been a source of wonderment for several decades. On his follow-up to Tower Vol. 1 (Ayler, 2011), featuring a horns-based quintet, Ducret realigns with longtime comrades and influential musicians in their own right--alto saxophonist Tim Berne and drummer Tom Rainey--for a bass-less quartet. Moreover, violinist Dominique Pifarely's synchronous dialogues with the soloists reemphasize an organic element amid the experimental side the artists bring to the forefront.read more
From the word go, guitarist Marc Ducret's Le sens de la marche enters another world, an unsettled one full of surprise and anguish--one for which there can be no preparation. Vaguely reminiscent of Frank Zappa, King Crimson and Tim Berne, it's a musical hubbub of organized chaos--systematic in theory but brutal and brilliant in practice.
The references, however, are many and various. Ducret's jungle is wild and urbane; on Tapage," the distant echoes of Duke Ellington's jungle can be heard, revisited here in a modern megalopolis. Meticulously well-constructed, Ducret's music is a welter of kaleidoscopic ideas. Protean, it never follows ...read more
Marc Ducret is usually experienced either as a highly noticeable sideman or, if he's leading his own band, a dangerously pointed guitar brandisher. Mostly, he's known for working with Tim Berne, as part of Bloodcount and Big Satan. This solo album reveals one of Ducret's other aspects: composer and bandleader on a particularly ambitious scale. His 10-piece ensemble sounds even bigger than that, benefiting from strategic electrification and amplification. The material was recorded in Ducret's French homeland, mostly during a 2007 gig at the appropriately named Délirium in Avignon, with one stray piece arriving from another date ...read more
The Marc Ducret Trio Rythmihäiri Club Helsinki, Finland November 31, 2007
Lost in translation is not an applicable excuse when listening to free-form instrumental jazz. It is to be expected. Sitting through 25 minutes of the intense experimental music the Marc Ducret Trio offers up during a single selection, inevitably the listener is sometimes in limbo -- wherever such respite might be!
Playing to a packed bar at Helsinki's Rythmihäiri (Cardiac Dysfunction) Club, maybe it's surprising there weren't more medics present. The pace and intensity of the music were unrelenting. These three French ...read more
Now in his late forties, guitarist Marc Ducret has built a career out of taking the essence of various traditions and turning them on their side. With Qui Parle? Ducret has fashioned perhaps his most ambitious and audacious effort to date, a seventy-five minute suite that is bold and almost entirely indefinable in terms of how it references any known style. This is a daring release that creates its own vernacular.
Ranging from chamber-like passages to punk-informed rock themes to free passages to segments that have their roots in the blues but are twisted every which way, and often all ...read more
While he's turned in some brilliant interim work , it's been four years since Marc Ducret's last solo project. Now 46, Ducret worked more than two years on Qui parle? (which translates to Who's speaking?"), wherein his conceptual thrust begins to overtake his colossal aptitude as a pure player. With the members of his working trio plus ten other musicians, three actors and a singer, Ducret has created a collage involving sound and studio as much as pen and paper.
Jazz is only a small part of all the sounds: the beautiful ones, the unpleasant ones, the very strong ones, ...read more
Here's one that has it all, including the package itself-so good here, I'll start the review with it. Fittingly recognized as part of the art presented, the case's brushstrokes on the cover are reflected on the discs inside. It features the best photos of musicians I've seen on an album this year, by Christian Ducasse, taken at Paris' Swiss Cultural Center during the run of shows that captured these beautifully recorded live performances. The back cover portrait of Humair makes known to us immediately that he is the leader, patriarch and all-knowing elder, shooting a glare that speaks of knowledge ...read more
There’s been a lot of (positive) chatter about this recent release! Firstly, due to the superstar implications of the personnel and secondly for the sheer intensity and roaring firepower, witnessed throughout. Recorded live in Paris, this quartet owns up to its expectations! Daniel Humair has always been a highly regarded drummer within European jazz circles, while tenor saxophonist Ellery Eskelin and guitarist Marc Ducret’s legacies span multiple European and American modern jazz type endeavors. Moreover, Eskelin frequently tours abroad with drummer Jim Black and accordionist Andrea Parkins.
Bassist Bruno Chevillon and Humair provide the soloists with all ...read more
What we have here are a series of duets from two extremely “happening” musicians. Guitarist Marc Ducret and drummer Bobby Previte are undeniably two of the most productive and revered musician/composers of recent times, mainly within modern jazz circles. On In The Grass these gifted stylists take a gregarious stab at stirring up the pot sans overdubs, yet on occasion emit the feel and sound which to uninformed ears may seem like a “power trio” or quartet.
The fiery opener, “Fifty is a hundred, a hundred is a thousand...” showcases Ducret’s signature style angular attack along with his distortion induced ...read more
This is music for those whose avenue to Jazz passed through punk rock. Don't get me wrong; Ducret doesn't play tuneless music that relies on speed provided by a drummer and bassist pounding out relentless, unvarying rhythm, or whatever your stereotype of punk rock is. His guitar playing is remarkably varied, as is the rhythmic drive. But whether he's playing loudly or softly, chords or single note runs, Ducret evokes the hard edge of punk rock, a rough edge that shows that he's more comfortable with noise than most Jazz musicians. That's a good thing. There are too many extremely ...read more
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