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Recorded live in Paris, 2000 – this trio embarks upon a quietly energetic affair as they rely upon their combined improvisational savvy and inherent resourcefulness for a set consisting of interweaving dialogue and polychromatic themes. On “c’estica 1”, double bassist Joelle Leandre pursues sweeping bowed bass lines, often counterbalancing clarinetist Francois Houle’s fleeting lyricism and guitarist Hasse Poulsen’s fervent plucking as the band renders a propulsive course of attack amid a potpourri of intricate developments.
The piece titled “c’estca 4” features Houle’s circular patterns and conveyance of subliminal themes along with Leandre and Poulsen’s rustling undercurrents, whereas the guitarist proceeds to mangle his acoustic guitar with odd metered voicings on “c’estca 5”. Here, Poulsen literally attacks his strings, as the band continually imparts an organic tone atop highly conversational discourses while they mimic the human voice and alien sounds via their acoustic instruments. Perhaps, c’estca could be deemed music for the restless mind or wanton spirit? Either way, the communal interplay is at times fascinating.
As a kid, my mom told me I'd like jazz. I thought she was nuts. Then I went to hear Cannonball Adderley (with Nat Adderley, George Duke, Walter Booker, Roy McCurdy and Airto) and everything changed. Yeah, mom knows best.