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Recevez Yves Charuest - Le territoire de l'anche et Yannick Chayer GEBILDE à prix réduit.
Get both Yves Charuest - Le territoire de l'anche and Yannick Chayer - GEBILDE at a discounted price.
Includes unlimited streaming of Le Territoire de l'anche
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Compact Disc (CD) + Digital Album
Yves Charuest - Le territoire de l'anche
Yannick Chayer - GEBILDE
HeArt Ensemble - Oréade
Heart Ensemble - From The Basement
Includes unlimited streaming of Le Territoire de l'anche
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Le territoire de l’anche, une oreille qui sonde la rencontre du souffle et du roseau… le saxophone comme support de l’écoute et de l’imagination; une forme de matérialité qui impose, suggère et que Charuest explore, questionne, assume et contredit.
Yves Charuest
Originaire de Montréal, Yves Charuest a commencé ses activités musicales professionnelles dans les années 1980. Il a joué avec de nombreux musiciens et groupes montréalais du jazz et de la musique improvisée, notamment Michel Ratté, Jean Beaudet, Lisle Ellis, Jean Derome et Pierre Cartier, I Like Jazz, Evidence, Duo Charuest-
Ratté, Trio Michel Ratté, Wreck’s Progress, et plus récemment avec Nicolas Caloia, Lori Freedman, Sam Shalabi et Peter Valsamis.
Il a collaboré à différents projets explorant le rapport entre le jeu instrumental acoustique et l’électroacoustique, notamment avec les compositeurs électroacoustiques canadiens Jean-François Denis, jef chippewa et Jean Piché.
Membre du Peter Kowald Trio de 1985 à 1990 (avec le regretté contrebassiste allemand Peter Kowald et le batteur sud-africain Louis Moholo), Charuest a également joué aux côtés de nombreux improvisateurs de la scène internationale, dont William Parker,
Agustí Fernández, Nate Wooley, Georg Graewe, Roscoe Mitchell, Lê Quan Nin, Dominic Lash, Mark Sanders, Steve Noble, Benedict Taylor, Richard Scott et Audrey Chen.
Il participe actuellement à divers ensembles : Charuest-Caloia, Now and Then, Charuest/Shalabi/Caloia, le Ratchet Orchestra, Charuest/Ellis/Valsamis, un duo avec l’altiste britannique Benedict Taylor, un duo avec la danseuse Alanna Kraaijeveld, et des collaborations ponctuelles avec le compositeur électroacoustique Gilles Gobeil et le Quatuor Bozzini.
Charuest poursuit également un travail d’improvisation en solo qui connait un nouvel élan. Il a toujours consacré l’essentiel de son travail de création à l’improvisation sous diverses formes : improvisation libre, ensembles d’improvisateurs explorant les liens avec la composition écrite (notation traditionnelle, graphique, verbale, etc.), free jazz, etc. En contexte d’improvisation collective tout comme en solo, Charuest est connu pour son approche singulière, son sens du développement et son attention aux propriétés sonores et au potentiel formel des matériaux avec lesquels il travaille.
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Le territoire de l’anche (“The Reed Territory”), the ear probing the close encounter between breath and cane… the saxophone as a medium for listening and for the imagination, a form of materiality which imposes, suggests, and which Charuest explores, questions, assumes and challenges.
Yves Charuest
Canadian saxophonist Yves Charuest has been active since the 1980s on the Canadian jazz and improvised music scene, playing with many Canadian musicians such as Michel Ratté, Jean Beaudet, Lisle Ellis, Jean Derome and Pierre Cartier in different groups and projects: I Like Jazz, Evidence, Duo Charuest-Ratté, Trio Michel Ratté and Wreck’s Progress and more recently with Nicolas Caloia, Lori Freedman, Sam Shalabi, and Peter Valsamis among others.
He was a member of the Peter Kowald Trio (1985-1990) with German bassist Peter Kowald and South-African drummer Louis Moholo, with whom he played extensively in Europe and the USA. He also played with several musicians from the US and abroad such as William Parker, Agustí Fernández, Nate Wooley, Georg Graewe, Roscoe Mitchell, Lê Quan Nin, Dominic Lash, Mark Sanders, Steve Noble, Richard Scott and Audrey Chen.
Charuest has collaborated with electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché. He is currently involved in many projects with the following ensembles: duo Charuest-Caloia, Now and Then, Charuest/Shalabi/Caloia, the Ratchet Orchestra, Charuest/Ellis/Valsamis, a duo with British violist Benedict Taylor, a duo with dancer
Alanna Kraaijeveld, and collaborates on specific projects with electroacoustic composer Gilles Gobeil and the Bozzini Quartet.
Charuest’s solo work has recently gained renewed momentum. He has always devoted most of his creative energy to improvisation in varying forms and contexts: free improvisation, encounters between improvisation and notated material (conventional and graphic notation, verbal instructions), ensembles with more apparent stylistic links to free jazz. In collective situations as well as in solo, his approach is characterized by his
sense of form and his attention to the sonic properties as well as the formal potentialities of the material he works with.
Je remercie sincèrement Zachary Scholes et Richard Scott pour leurs oreilles expertes et sensibles, Sylvia Safdie pour avoir généreusement offert un toit à ma pratique récente, et tout particulièrement Raphaël Foisy-Couture pour avoir sollicité et réalisé cet album.
My most heartfelt thanks to Zachary Scholes and Richard Scott for their expert and sensitive ears, Sylvia Safdie for having generously “sheltered” my recent musical practice, and especially Raphaël Foisy-Couture for having solicited and produced this album, and for having patiently waited for me.
Small Scale Music is an independently run music label interested in releasing challenging music (Free Improvisation, Noise, Free Jazz...) primarily on small runs of tapes, cd, zines and digitally.
supported by 5 fans who also own “Le Territoire de l'anche”
This acoustic album is a whole world of artistic trumpet playing portrayed in sound. The extraordinary material and the various sophisticated improvisational patterns are convincingly performed. 'Buchfink' is particularly noticeable for its jazzy feel, fine thematic development and muted sound experience. A trumpet doesn't need electronics to help it sound better. It already sounds perfect. It only needs a really good player like Lina Allemano to realize its potential. Franck