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Michel Lambert: Alom Mola

Read "Alom Mola" reviewed by John Eyles

Michel Lambert is probably best known as a jazz and improvising drummer, most familiar from his recordings with fellow Canadian and saxophonist François Carrier, made since the turn of the millennium. However, there are other sides to Lambert that are not immediately obvious from that work. He has released several albums of his own compositions on the Jazz from Rant label that he founded in the early 90's with his wife Jeanette Lambert and her brother Reg Schwager, the label ...

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Michel Lambert: Le Passant (The Wanderer)

Read "Le Passant (The Wanderer)" reviewed by Troy Collins

Montreal-based and conservatory-trained percussionist Michel Lambert conceived the suite on Le Passant as a conceptual conflict, pitting a chamber orchestra against a small group of jazz improvisers. In the liner notes Lambert describes the piece as more struggle than collaboration, an argument as opposed to discussion, improvisation versus composition.

The first half of the recording embodies this aesthetic at its most combative, with the improvisers weaving in and out of the massed ensemble. Sometimes they struggle to be ...

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Michel Lambert: Le Passant (The Wanderer)

Read "Le Passant (The Wanderer)" reviewed by John Kelman

The usual meeting place of improvisation and orchestra works around firm structure where the improvisers solo within the rigid confines of the orchestral arrangements, or the orchestra acts as an underlying support, scored in and around pre-existing extemporization. But in rare cases, daring composers have found ways to allow improvisers to remain untethered while at the same time broadening the sonic palette with a larger ensemble. Howard Shore's collaborative soundtrack with Ornette Coleman for David Cronenberg's film Naked Lunch was ...

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Michel Lambert: Le Passant (The Wanderer)

Read "Le Passant (The Wanderer)" reviewed by Jerry D'Souza

Michel Lambert began working on the music on Le Passant (The Wanderer) in 1992. Time, however, brought about changes. He reduced his original symphonic work to its current instrumentation. He calls it a meeting of the two forces and a confrontation between music that is through-composed and freely improvised. The latter is seen in complete detail on the last seven pieces, which are improv-based. The first five (together comprising “Le Passant") have the improvisers and the orchestra meeting and finding ...

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Michel Lambert: Out Twice

Read "Out Twice" reviewed by AAJ Staff

With the advent of free improvisation--or spontaneous composition, as some prefer to call it--formal structure ceased to be a fence so much as a path. But no matter how hard some improvisers may have tried, the random walk just never became reality. So that path has taken a central importance in defining the styles that shape free improvisation today.

Québécois-cum-world-traveler Michel Lambert's path on Out Twice depends upon interpreting images, an idea many have explored but few have managed to ...

ALBUM REVIEWS

Michel Lambert: Out Twice

Read "Out Twice" reviewed by Frank Rubolino

Michel Lambert divided his drumming leadership between two trios on Out Twice, one with pianist Milcho Leviev and bassist John Giannelli, and the other with bassist Barre Phillips and saxophonist Lionel Garcin. He also split his recording venues between American and European sites.

Both ventures were unique; Lambert used his personal drawings and sketches as inspiration for the trios in their free interpretation of music and its relationship to visual art. Lambert’s drawings are linked individually to ...


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