Mozart & Miles Davis: Ebène Quartet relies on classical training to put a new spin on jazz
By
Chris Becker - http://houston.culturemap.com/newsdetail/11-08-12-09-34-mozart-miles-davis-ebene-quartet-relies-on-classical-training-to-put-a-new-spin-on-jazz/
11.08.12| 09:49 am
On Friday, Houston Friends of Chamber Music presents the Ebène Quartet, a string quartet all the way from France that performs onstage with a drummer, at McGonigel's Mucky Duck.
And yes, you read that right, two violins, viola, cello, and drum kit.
The quartet's name (Quatuor Ebène en Français) translates as "Ebony
Quartet," which references their "love and respect for great African
American jazz musicians." The quartet's repertoire includes works by
great African American composers, including Wayne Shorter and Miles
Davis, as well as film music (Pulp Fiction, Gilda, Ocean's 12), French chanson ("Lilac Wine"), and rock songs ("Come Together").
The quartet has also recorded and regularly performs music by Mozart,
Brahms, and Debussy, but that ain't what they're gonna be playing Friday
night.
The quartet has also recorded and regularly performs music by Mozart,
Brahms, and Debussy, but that ain't what they're gonna be playing Friday
night.
Oh, and not only does the Ebène Quartet swing, each player improvises
brilliantly, adding a whole other layer of interpretation to standard
tunes including "So What," "Footprints," and "Nature Boy."Across the lines
Some 25 years ago, it was rare to hear classical musicians improvising
convincingly in rock and jazz idioms. Such musicians certainly existed,
but generally speaking, the line between improvisation — which up until
the 20th century was actually common practice for so-called
classical musicians — and classical music performance was a line young
musicians did not want to cross, lest they earn the wrath of professors,
audiences, and perhaps most chillingly, music critics.
When I first heard the Kronos Quartet
live in Columbus, back when I was a freshman composition major at
Capital University, they sounded to my young ears like nothing I'd heard
before. During their performance of Charles Mingus' "Better Get Hit In
Your Soul," the jazz saxophonist sitting next to me marveled, "That
cellist (Joan Jeanrenaud) is swinging her ass off!" They encored with
their notorious and noisy version of Jimi Hendrix's classic "Purple
Haze" and nearly destroyed their bows in the process.The Ebène Quartet is breaking similar ground with their unique spin on
contemporary non-classical repertoire. Their 2011 critically acclaimed
hit album Fiction features the quartet, Pierre Colobmet
(violin), Gabriel Le Magadure, (violin), Mathieu Herzog (viola), and
Raphaël Merlin (cello), with drummer Richard Héry (who will be with them
Friday at Mucky Duck), and guest vocalists Luz Casal, Stacey Kent,
Fanny Ardant, who sings a freaky and strung out version of "Lilac Wine,"
and superstar soprano Natalie Dessay. There are so many magical moments on Fiction: Raphaël Merlin's
solo that introduces Shorter's "Footprints," Héry's bowed and struck
cymbals solo that is the prelude to a stunning version of "Calling You"
from the film Bagdad Café, the quartet's a cappella vocal
harmonies that bookend "Someday My Prince Will Come." The album was a
big hit with listeners and named by National Public Radio as one of the
Top 10 Classical Albums of 2011.
Not surprisingly, and not unlike the majority of 21st
century classical musicians, the four members of the Ebène Quartet grew
up listening to and enjoying a wide variety of musical genres, including
funk, opera, French chanson, chamber music, folk, electro, pop, baroque
music, and of course, traditional and contemporary jazz. After more
than 10 years of playing, Merlin says all of these influences "still
feed our musical work."
Does the quartet see themselves as part of a long running, distinctly
French tradition of musical polymaths that includes singer songwriter
Serge Gainsbourg and singer Edith Piaf?
Given the Ebène Quartet's ability to improvise, and the idiomatic
nature of performing rock and pop songs, I asked Merlin if the
arrangements were created collectively and in the moment, similar to how
a rock and roll band arranges a song.
"The most interesting work is probably on pieces for which we don't
write anything," Merlin says. "In that case, our process is like a rock
band rehearsal, maybe a bit like in the (Jean-Luc) Godard movie
featuring the Rolling Stones Sympathy For The Devil."
However, Merlin adds that a written arrangement can indeed carry more
"force" and provide the quartet with more sophisticated musical material
to play, material that brings new life to an already great song like
"Calling You."
Does the quartet see themselves as part of a long running, distinctly
French tradition of musical polymaths that includes singer songwriter
Serge Gainsbourg and singer Edith Piaf?
"Maybe," says Merlin. "We are deeply moved by the "Années folles"
singing style, and totally impressed by the inventive dynamism of
Gainsbourg. It's all a part of our aesthetic, as well as the music of
Ravel, Fauré, Debussy, and Bizet."Improvisation (Slight Return)
25 years ago, things were different. Now, in the 21st
century, more and more classical musicians are coming out of music
conservatories in the U.S. with a passion for improvising and the chops
necessary to do it. Is this also true in Europe?
"It is true that we're now observing a change all around the world,"
says Merlin. "Cultural globalization makes any musical discovery easier
than ever. Improvisation was always a part of classical music, and it
disappeared with modernism in 20th century. But now it's coming back."Houston Friends of Chamber Music presents the Ebène Quartet at 7:30 p.m. and 9:30 p.m. Friday, at McGonigel's Mucky Duck, 2425 Norfolk. Purchase tickets online or call 713-348-5400. --------------------------------------------
By Stephanie Jones - http://www.sfcv.org/preview/san-francisco-performances/ebene-quartet-where-personality-thrives
Not so long ago, a classical musician playing a non-classical
genre sounded so like a fish out of water that people in the music
industry coined the term “crossover” to describe it. That seems like
ages ago, and now musicians are asserting their right to bend genre
categories in the best way possible — by playing all kinds of music with
at least some sense of style.
The 13-year old-French ensemble Ebene Quartet rejects the stigma of
crossover, an example of the contemporary desire to make traditional
categories permeable.
“It's not so important to know what classification we will receive. It's
much more a question of quality,” said violinist Raphael Merlin. “We
are hoping that our crossover concert could help to reach younger and
brighter audiences in order to maybe get to introduced to the string
quartet in general and because we think that the string quartet’s
repertoire is something which is probably taken too seriously and makes
many people shy. They don't even dare to go to a string quartet concert
because it seems that it will be boring or [it] is just for initiated
audiences,” which we don't really believe. So yes, this crossover image
we have, we don't want to assume it because as soon as we can defend it
with quality and with love — it doesn't really matter if it is part of
the classical field or from another one.”
The foursome, who often plays jazz standards in addition to the typical
quartet repertoire, know that recognizable tunes draw people in. But the
real payoff is in being open to improvisation and all the good music
out there.
“I just mean taking freedom for anything you have in mind. It could be
in the middle of a classical piece just for fun, while rehearsing, at
the moment where maybe you don't feel perfectly in tune with music which
is written there — at that note, just play something else — or
sometimes kind of seriously we try to play a jazz standard. Anything
which allows [us] to explore the string quartet sound out[side] of the
written music. We always enjoy this.”
All this may sound a bit iffy but the group is very much inspired by
jazz. Even their name Ebene, which means ebony in French, is a tribute
to African-American “jazz men,” namely Davis and Coltrane. At the same
time, they walk a very thin line between respecting what is written and
throwing it all out the window like many of their predecessors. The
trick is being able to do both equally well.
“I think it's very normal to say that [a] musician first is very
respectful and, yes, wants to respect as precisely as possible what is
written on the music. I didn't necessarily mean that we want to
transform the music as it is. We just feel the spontaneity of the
interpretation and also we like to improvise more,” said Merlin. “If you
compare with formal jazz players, I think it really brings something
important to the imagination of a classical musician.”
The quartet — Pierre Colombet [violin], Gabriel Le Magadure [violin],
Matthieu Herzog [viola], and Merlin on violoncello — use their own
personalities to grow musically.
“I would say the first violin, Pierre, is a very sensitive guy who
always gets inspiration from the [harmonic] process of a piece. He's
very spontaneous and, yes, inspired by the music and always has many
ideas about framing and vibrato and color of the sound. He's the one who
likes the most every music possible. He's never tired of discovering
new music and listening to many things. Gabriel, the second violin, is
much more a calm person. He's very concerned about the sound quality and
especially a few end details, the way you would end a phrase, for
example. [Gabriel]'s actually a singer who decided to play the violin,
said Merlin. “I am maybe the one who has the analytic view of music. I'm
a very brainy guy...maybe the good side is it brings balance to the
option of interpretations.”
The most recent CD is Dissonances (2011), a selection of Mozart
— but the repertoire for the Nov. 8 concert presented by San Francisco
Performances will come mostly from their 2010 CD Fiction, named after the Tarantino classic Pulp Fiction. “There will be also a few pop songs like the Beatles’ Come Together or The Streets of Philadelphia
by Bruce Springsteen and a few soundtracks of great movies, which we
did also arrange because at the moment we were very interested about
what movie music would really touch [people],” said Merlin. “We did
arrange everything on this CD. At the end, it doesn't really make a
difference if it is a jazz standard or a soundtrack of a movie or
anything else. I think the [common] aspect of these this [pieces] is
that it's arranged for string quartet and eventually drums. It's a
special sound, which we are all now doing on stage thanks to our
unbelievable drum player [Richard Hery]...He really plays the drums like
he would play the violin if he was a violin player.”
Ebene Quartet is looking forward to the San Francisco concert not only
for the repertoire but also because it is group's only U.S. concert on
this tour.
“I want them to know that this is a very easy program...smooth and soft
but also moving and also kind of embracing in some aspect. It's very
changing. It's not like you would suffer to be in a concert hall and
listen to three Hayden string quartets after each other, even if it's
just great music,” said Merlin. “On this Fiction program, we did combine
a lot of different styles and I think this makes concerts which are
absolutely not boring.”
Stephanie Jones
received her Bachelor of Science in Music Industry from the USC
Thornton School of Music in 2008. She recently completed her Master of
Arts in Specialized Journalism (arts journalism) in 2010 at USC and is
currently a freelance journalist as well as a playwright, creative
writer, and amateur poet.
Le concert des Folies Bergères : " Un concert inoubliable filmé aux Folies Bergère le 15 novembre 2010, durant lequel les 4 garçons duQuatuor Ebène lâchèrent la bride pour un voyage rock, pop, jazzy formidable d’inventivité, entourés de Richard Hery aux percussions et Jim Tomlinson au saxophone, ponctua la sortie l’an dernier du disque Fiction. Et quels moments rares avec Natalie Dessay et Stacey Kent, deux stars qui amenèrent cette touche de glamour et de chic qui contribuent à faire de ce DVD qui paraît aujourd’hui un moment unique ! Les Ebène sont aujourd’hui le groupe le plus polyvalent de la scène internationale du quatuor à cordes, aucune autre formation n’évoluant de manière si souveraine et enthousiaste entre différents styles." ( Emi Classics - Virgin Classics)
C’est la voix que le 4e Festival « Les Chaises Musicales » mettra à l’honneur les 1er, 2 et 3 août 2011 avec les célèbres chanteuses Natalie Dessay et Karine Deshayes.
Lundi 1er août 2011VICQ-SUR-GARTEMPEPelouse de la Mairie à 20h30
Concert JAZZ
« Fiction » avec le Quatuor Ebène, Richard Héry, batterie, et la participation de Natalie Dessay.
Programme :
16 standards du jazz et de la musique populaire. Les 4 musiciens français avec leurs invités convoquent les figures de Charlie Chaplin, Rita Hayworth, Chick Corea, les Beatles, Brad Mehldau, Bruce Springsteen ou encore Nicholas Roubanis qui a composé le thème principal du film culte de Quentin Tarantino : Pulp Fiction. Toutes les transcriptions et les arrangements sont de leur main.
Réservation à partir du 1er juillet au 06 79 44 09 38 Pass pour le festival : 55€ - 50€ pour les membres 1er août : 18 € / 15 € pour les membres 2 août : 22 € / 20 € pour les membres 3 août : 20 € / 17 € pour les membres Réduction scolaires, étudiants : 50% aufildesondes@orange.fr
Une réputation internationale pour cet ensemble dont les enregistrements dans le répertoire classique font référence. Ils ont enregistré en Auvergne leur dernier album, sortie 2010. Autre versant de leur talent.
Souvenez-vous, Victoires de la musique 2007. Frédéric Lodéon, maître de cérémonie, qualifie leur version de Pulp Fiction, arrangé opus Ébène, de « folie douce magnifique et virtuose ». Un trou de mémoire ? Vous avez zappé la séquence, précipitez-vous sur You Tube.
Mais attention, il ne s'agit pas, pour les quatre virtuoses, d'un numéro d'artistes de circonstance. Plutôt d'un projet porté depuis dix ans. L'aboutissement d'un parcours exigeant, associant la rigueur de la structure classique et la sensibilité artistique ouverte à toutes les aventures musicales.
Le goût de la perfection
« Notre complicité prend source au conservatoire de Boulogne-Billancourt ». Ils trouvent à Paris un état d'esprit. Le souffle qui nourrit leur identité. « Nous éprouvions une grande liberté. De la musique en permanence. Et, l'encouragement à l'initiative personnelle ». Une voix pour quatre. Une carrière à poursuivre avec Ravel, Debussy, Brahms, Bartok, Fauré? Aussi avec du jazz, du rock, du tango...
« Il y a depuis une cinquantaine d'années, une explosion des styles musicaux. Nous sommes des musiciens de notre temps, imprégnés de tous ces courants. Il faut cesser d'associer classique et élite ». Leur éducation musicale bâtit une palette d'émotions. Leurs expériences affinent une certitude. « Le ressenti est identique dans tous les répertoires ». Une conviction susceptible de rapprocher les rives, de jeter des ponts pour atteindre le coeur de l'émotion. En quatuor, jazz-band ? L'écrit à la lettre ? L'improvisation ? Au carrefour. « Les deux registres s'interpénètrent ». Pour une perception plus intense et décomplexifié de l'instrument, une rigueur à transmettre.
Leur dernier album « Fiction » - sortie en novembre 2010 - symbolisera cette recherche. Un album jazz-pop où se côtoieront des titres prestigieux ? Over the Rainbow, Smile, Pulp Fiction, Come Together, Lilac Wine... Des références telles que Chick Corea, Brad Mehldau, Bruce Springsteen, Wayne Shorter : des invités de renom : Natalie Dessay, Fanny Ardant, Stacey Kent...
Ce contrat de confiance libellé par Virgin classics signe une recherche complexe, au-delà de la relecture. Des arrangements ciselés par le quatuor pour lesquels l'ensemble joue une partition à six voix. Se sont greffés un batteur (Richard Héry) pour enrichir la palette sonore et un luthier, ingénieur du son (Fabrice Planchat)... Extrêmement difficile de trouver l'équilibre entre les cordes et la batterie, résolu par la finesse du jeu et la prise de sons. Des conditions d'enregistrement parfaites - moins oppressantes qu'en studio - à la hauteur de leur rêve musical, de leur intensité, de leur intégrité.
À ceux qui seraient choqués par cette escapade, ils avertissent. Méfions-nous des idées reçues. Ne manquent ni d'arguments, ni d'anecdotes. Tel ce concert avec un programme classique dans une prestigieuse salle de Vienne à la réputation plutôt conservatrice. Un bis façon Pulp Fiction, c'est l'explosion. « Réflexion, émotion, défoulement, danse. C'est ça la musique ». La petite musique de vie du quatuor Ébène.
Festival de Laon en Picardie 9 Cross Over des standards de jazz à la pop
MAISON DES ARTS ET LOISIRS
L’incursion de l’un des meilleurs quatuors classiques français
" au-delà des frontières de son répertoire traditionnel. La tentation d’artistes rompus à l’exigence de l’écriture de Haydn, Beethoven ou Bartok, d’aborder les rivages de l’improvisation et du son amplifié. La maitrise du quatuor à cordes mise au service des standards de jazz, de la musique de film ou de la pop, en une réalisation sonore soucieuse des timbres, élaborée sur les fondations de la batterie de Richard Héry. Pour voir le quatuor autrement"
Maîtrise, élégance, densité, complicité, esprit, nouveauté sont des mots qui reviennent régulièrement quand il s'agit de parler du Quatuor Ebène, qui compte désormais comme l'un des quatuors à cordes européens les plus en vue. Il est Constitué depuis 1999 de Pierre Colombet, violon - Gabriel Le Magadure, violon - Mathieu Herzog, alto - Raphaël Merlin, violoncelle (voir aussi la rubrique Projets).
Ce quatuor se distingue par son ouverture et sa polyvalence : tourné aussi bien vers le répertoire classique que vers les musiques de notre temps, il s'implique avec la même passion dans différentes productions de genres musicaux variés.
Depuis 2006, le quatuor s'est engagé avec le batteur-percussionniste Richard Héry dans un nouveau répertoire jazz composé de musiques de film et de standards. Cette formation prometteuse s'est notamment produit au Festival de la Roque d'Anthéron.
L' avant-première de ces prestations au festival « Inter’Notes » (Cébazat 2008), sous une « mise en son » inventive du luthier et ingénieur du son Fabrice Planchat, avait suscité beaucoup d’enthousiasme. Cette formationa également rencontré un grand succès outre-Rhin cet été 2008.
En octobre 2008, les Ateliers Polignac, lieu de spectacles et de résidences d’artistes, ont accueilli le Quatuor Ébène et Richard Héry, pour la réalisation d'enregistrement en vu de la préparation de leur futur album en contrat d’exclusivité chez Virgin\EMI Classics.
Un projet de tournée internationale, organisé par l’une des plus grandes agence artistique allemande “Impresariat Simmenauer”, conduira l'été 2009 ces six artistes vers de nouvelles productions accompagnées d'un travail de mise en scène et de mise en lumière.
stacey Kent © GR-DR
