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Le Passant (The Wanderer)

Label: Rant
Released: 2006
Track listing: The Wanderer: Mirror of Truth; Eternal Errant; Labyrinth of Remorse: Spiritual Shock; Pilgrimage of Humankind; Improvisations: Running in the Cave; Quib; Extracting Lines; Pretend Make-Believe; Ruffians, Riffraff and Ruffs; Lost Passengers; Cue 9-3, Recalling the Wanderer.

TRACK OF THE DAY

Recalling the Wanderer

Album:
By
Label: Jazz from Rant
Released: 0
Duration: 2:04

ARTICLE: ALBUM REVIEW

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 ...

Le Passant (The Wanderer)

Label: Rant
Released: 2005
Track listing: Mirror of Truth: Eternal Errant; Labyrinth of Remorse: Spiritual Shock; Pilgrimage of Humankind; Running in the Cave; Quib; Extracting Lines; Pretend Make-Believe; Ruffians, Riffraff and Ruffs; Lost Passengers; Cue 9-3, Recalling the Wanderer.

ARTICLE: ALBUM REVIEW

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 ...

ARTICLE: ALBUM REVIEW

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 ...


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