Angles 3 - Parede (CLEAN FEED RECORDS 2018)

After concerts and recordings as Angles 10, Angles 9, Angles 8 and Angles 6, here is back the original Angles line-up, Angles 3. It was 2004 and for a gig at the Glenn Miller Cafe it’s mentor and saxophonist, Martin Küchen invited two Scandinavian musicians now living in the United States (respectively, Austin – Texas and San Diego – California), Ingebrigt Håker Flaten and Kjell Nordeson. “Parede”, the title, is a tribute to the Portuguese town near Lisbon where the album was recorded live, at a venue called SMUP which in few years became the equivalent in this Southern European country to The Stone, Cornelia Street Café and Nublu. Most of the compositions, like Küchen’s classics “Satan in Plain Clothes” and “By Way of Deception”, are the same of those other Angles investments, of course with different arrangements. This version functions as a reduction to the essence of the music conceived by the Swedish musician, resulting in an energetic, even brutal, kind of free bop delivered to the ears as if it is punk or metal, echoes of Sonny Rollins and Albert Ayler mixing with something that could come from… The Melvins.

1. Equality & Death (Mothers, Fathers, Where Are Ye?) 9:16

2. Satan in Plain Clothes 10:11

3. Francisco / By Way of Deception 22:56

4. Don´t Ruin Me / Love, Flee Thy House (In Breslau) 17:29

Ingebrigt Håker Flaten  double bass

Kjell Nordeson  drums and percussion

Martin Küchen  tenor and soprano saxophone

All compostions by Martin Küchen (STIM/NcB), except “San Francisco” by Ingebrigt Håker-Flaten (TONO) and “Satan in Plain Clothes” by Martin Küchen and Leo Küchen (STIM/NcB)

Recorded live at SMUP, Parede, Portugal by Luís Candeias on November 22 to 24th, 2016 | Mixed by Luis Candeias | Mastered by Luis Delgado

Produced by Angles 3 | Executive production by Pedro Costa for Trem Azul | Design by Travassos | Photo by Nuno Moita

Chrome Hill - The Explorer (CLEAN FEED RECORDS 2018)

Tell me what was your first love in music and I’ll tell you who you are. That’s what you could say about guitarist Asbjørn Lerheim, who played blues and rock before being interested in jazz and now plays blues and rock (and folk, inevitably linked to both) in a jazz context with the band Chrome Hill, formerly known as Damp. And what a band, the also member of Lisan Dillan’s Quiet Quiet Project having the company of likeminded souls: Roger Arntzen (In the Country, Ballrogg, Trail of Souls), Torstein Lofthus (Elephant9, Shining) and Atle Nymo (Motif, Saxwaffe, Atle Nymo Quartet), the last replacing Jørgen Munkeby (Shining), who became one of the most predominant figures of the Scandinavian heavy metal scene. Much can be said about the capacity of this younger generation of musicians to play several genres and use diversified music vocabularies (not necessarly the ones they embraced at the beginning of their careers), but even more interesting is the fascination for Americana here revealed and happening often in the North of Europe: these guys can play Appalachian folk songs, Delta blues and red neck rock as if they were born on the inner guts of the United States of America, doing it without ever losing their identity as jazz improvisers. Be marveled, people.

1. Deep Blue 6:03

2. Drunken Sailor 4:20

3. Lurking Beneath 5:19

4. Galileo 5:44

5. Of Things That Float 6:11

6. The Explorer 6:54

7. The Voyage Home 5:33

Asbjørn Lerheim  baritone guitar

Atle Nymo  tenor saxophone

Torstein Lofthus  drums

Roger Arntzen  double bass

Music by Asbjørn Lerheim | Arranged by Chrome Hill

Recorded by Jacob Dobewall at Propeller Music Division, Oslo, Norway, November 9-10, 2017 | Mixed by Mike Hartung at Propeller Music Division, Oslo, Norway | Mastered by Chris Sansom at Propeller Mastering, Oslo, Norway

Produced by Chrome Hill | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Scott Clark - Tonow (CLEAN FEED RECORDS 2018)

ToNow is a contribution in music to the protests that took place at Standing Rock for much of 2016-2017 and remain ongoing. Four songs represent four different aspects: “Plains” (the landscape), “Stand” (Standing Rock reservation), “Red, White, Yellow” (colors on the reservation flag) and “Cantapeta Creek” (the epicenter of the protests). ToNow is meant to be listened to as a suite, continuing the through-compositional voice heard on Bury My Heart (2016), inspired by the events in Dee Brown’s book of the same name. Clark continues to explore the meanings of his own Native heritage in an improvisational and collaborative context, with returning personnel on bass, saxophone and trumpet and two additional guitar voices. An enervating and elegaic post-rock, post-bop format.

On the Title:
ToNow comes from something that my daughter said to me one day, “No dada not today tonow” and I thought that was brilliant. It applies to my thoughts on the events at Standing Rock and a lot of other current issues. We can’t wait until tomorrow or even today, things need to happen ToNow.

On the Recording:
I would send some pictures or links to stories to try to have the musicians coming from a similar place emotionally when we would go to play it on a particular take. That’s the most important thing–trying to capture what the piece is and the emotion of what you’re playing.

On the Cover:
The cover painting happened to be finished on Columbus Day. I like the idea of the colors falling down and there being no stars. It means many different things to many different people.

1. Plains 12:57

2. Stand 13:14

3. Red, White, Yellow 15:20

4. Cantapeta Creek 7:42

Cameron Ralston  bass

Jason Scott  saxophone

Bob Miller  trumpet

Alan Parker  guitar

Toby Summerfield  guitar

Scott Clark  drums

All music composed by Scott Clark

Recorded by Lance Koehler at Minimum Wage Recording Studio in Richmond, VA | January 31 and April 26, 2017 | Mixed and mastered by Lance Koehler at Minimum Wage Recording Studio Richmond, VA

Produced by Scott Clark | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Trio Exaltation - Marty Ehrlich (CLEAN FEED RECORDS 2018)

Marty Ehrlich has released his first trio recording in many years, entitled “Trio Exaltation.” For this new trio concept, Ehrlich has called on bassist John Hébert and drummer Nasheet Waits. All three were members together in the Andrew Hill Point of Departure Sextet, a group which brought Andrew Hill’s music strongly before the public in the last decade of Hill’s life.

This recording features eight new compositions by Marty Ehrlich, one of the most accomplished and celebrated composers and performers in the New Jazz. The one exception is the seminal composition of Andrew Hill entitled “Dusk”, which is also the title of the first Andrew Hill Sextet recording. Ehrlich writes that this is a work of “simple complexity which Andrew was a master of.”

This recording also includes a beautiful hymn in memory of Ornette Coleman, and a tribute to Pedro Costa of Clean Feed entitled “Senhor P.C.” Ehrlich uses his range of saxophone, clarinets, and flutes as the works on the recording moves from reflection to vigor and back. There is a great empathy between these three artists, as they explore “the exaltation of the moment.” Trio Exaltation is a new stage of Ehrlich’s ensembles, rich in urgency and sophistication.

1. Dusk 8:30

2. Yes Yes 5:11

3. Senhor P.C 5:07

4. Dance No. 5 6:15

5. Stone 4:15

6. June 11th, 2015-In Memorium: Ornette Coleman 7:19

7. Sometimes 6:08

8. The Arc of the Oar 4:26

9. Spirit of Jah No.2 3:31

10. Reading the River 5:17

Marty Ehrlich  alto sax, clarinet, bass clarinet, wooden flutes

John Hebert  bass

Nasheet Waits  drums

All compositions by Marty Ehrlich (Dark Sounds Music, BMI) except “Dusk” by Andrew Hill (Hendon Music, Inc. BMI)

Recorded at Namouche Studios Lisbon on April 28th by Joaquim Monte | Mixed and mastered by Brian Montgomery

Produced by Marty Ehrlich | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Chris Pitsiokos: CP Unit - The Silver Bullet in the Autumn of Your Years (CLEAN FEED RECORDS 2018)

Chris Pitsiokos is indeed what everybody says about him: the most representative face of a new generation of musicians commited to change the New York jazz scene. Or the New York rock scene, because he is positioned somewhere among those genres, also incorporating aspects of contemporary classical music in his compositions and improvisations. Here again, we find him expanding the possibilities of his instrument, the alto saxophone, under the influence of Ornette Coleman’s harmolodics, noise music, and the timbral explorations of Stockhausen. The CP Unit includes a regular companion, Tim Dahl (Child Abuse, Lydia Lunch Retrovirus, Pulverize the Sound) and musicians Sam Lisabeth (Samuel Boat, Guerilla Toss), Henry Fraser (The Full Salon, Brandon Seabrook Trio, Brandon Seabrook’s Die Trommel Fatale), Jason Nazary (Little Women, Bear in Heaven) and Connor Baker (No Name, Michael Foster’s The Ghost). While Pitsiokos is firmly rooted in the melodic vocabularies of his forbears Charlie Parker and Ornette Coleman, his structural, harmonic and timbral ideas propel him into the future and beyond. Always included are the personal contributions of his partners, opening himself and the music to their visions. The result is astonishing.

1. Improvisation 8 00:46

2. Dalai Lama's Got that PMA 01:44

3. Once Upon a Time Called Now 07:04

4. Orelius 07:02

5. Improvisation 27 01:00

6. Positional Play 06:06

7. Silver Bullet in the Autumn of Your Years 06:07

8. The Tower 07:03

9. A Knob on the Face of a Man 04:15

10. Arthropod 11:34

Chris Pitsiokos  alto saxophone, wind controller, sampler, analog synthesizer

Sam Lisabeth  guitar

Tim Dahl  electric bass on tracks 4, 6, 9, 10

Henry Fraser  electric bass on tracks 1-3, 5, 7, 8

Jason Nazary  drums and electronics on 4, 6, 9, 10

Connor Baker  drums on 1-3, 5, 7, 8

All music except improvisations composed by Chris Pitsiokos

Recorded at Seizures Palace, Brooklyn, NY, by Jason Lafarge on May 28th and November 6th, 2017 | Mixed and Mastered by Philip White

Produced by Chris Pitsiokos | Executive production by Pedro Costa for Trem Azul | Album artwork by anna ekros

Francos 2018 - Toutes les infos pratiques réunies ici !

Le site des Francos de Montréal est situé dans le Quartier des spectacles,

en plein cœur du centre-ville montréalais. Voir la carte

Tous les moyens sont bons pour venir aux Francos : à pied, en taxi, en métro ou en bus, en auto, en vélo, en planche à roulettes, en patins à roues ou même en soucoupe volante !

Transports en commun

Métro : stations de métro Place-des-Arts et Saint-Laurent (ligne verte), ou Place-d’Armes (ligne orange)

Bus : lignes 15, 24, 55, 80, 125 et 129

stm.info pour plus d’info

Stations BIXI

montreal.bixi.com pour plus d’info

Stationnements pour automobiles

Des stationnements payants sont situés près du site ou directement sur le site, notamment à la Place des Arts, au complexe Desjardins ainsi qu’à l’Université du Québec à Montréal (UQAM).

Vélos et planches à roulettes interdits sur le site.

Stationnements à vélo disponible à l’entrée du site.

Apporte tes couvertures pour assister aux spectacles du parterre Loto-Québec.

Où joue ton artiste préféré ? Où sont les toilettes ? Où sont les meilleures terrasses, les bars et la bouffe ? Pour répondre à toutes ces questions existentielles, consulte notre plan de site.

# FrancosMTL

Tout ce qui se passe aux Francos, en direct ! Reste informé sur les changements d’horaire, les événements spéciaux et des surprises !