|Исполнитель: Les Grandes GueulesНазвание альбома: 6 a cappella voices run the gamut of words and sounds !
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Astonishing virtuosity in a playful, whimsical setting
A musical celebration in a class by itself.
Meet the “Grandes Gueules” - a group of six “big mouths” (the literal translation of “grandes gueules") who decided to pursue the adventure Mimi Perrin began forty years ago ("The Double Six of Paris"). The result is an a cappella vocal group that is no less than astonishing.
Bruno Lecossois, the composer and group director, is the man who made it all happen. Passionately dedicated to the voice in all its radiance and diverse expressive capacities, Bruno formed his first group, “Blues Band,” at the age of fifteen. Even then, he loved all kinds of music, no holds barred: “any style, age or color,” as he put it. “I love Miles, Duke and Ella as well as Satchmo and Trane. The Rolling Stones, Jimi Hendrix, Bjork, Claude Nougaro, Olivier Messaien, blues, salsa, and simple songs as well as contemporary music.” Later on he formed his first a cappella group, “les Feles du vocal” ("the vocal crackpots").
The “birth certificate” of this Montpellier ensemble might be dated January 21, 1993, the date of the Grandes Gueules? first live concert. At the time it was a vocal quartet accompanied by a pianist; even then their style, based on the music of George Gershwin, was delightfully original. It was not until 1995 that the Grandes Gueules became a veritable “a cappella” quintet, with a bass singer replacing the pianist.
In March of 1996, Bruno Lecossois created a show called “Boby Groove,” paying tribute to the music of Boby Lapointe with hair-raising dexterity. Its success was instantaneous. The following year, he scored again with “Wolfgang Amadeus Bizarre,” a mixture of bebop, Mozartian allusions and electro-comic music. Then there was “Zorg,” an improvisational trio, and “les exercices de style en chansons” or “exercises in style set to music” ? based on the famous book by Raymond Queneau. Like any young group in search of recognition, they had to rise to the challenge of competition. In August 1997, the Grandes Gueules participated in the Crest vocal jazz competition for the third time, finally taking first prize. Their triumph provided the encouragement they needed to tackle the La Defense competition in June 1998.
Flashback - June 6, 1998: A group of total unknowns showed up at the windy square called La Defense. Without drums or trumpets, the four women and two men had come from Montpellier to participate in the prestigious “La Defense” national jazz competition. Just before going onstage, they performed a strange ritual, joining hands in a circle to focus and “pass the flow.” When they were finally called on to perform, a storm broke out. They began singing in the rain ? and simultaneously overwhelming the jury and audience huddled under their umbrellas. The following day, the voice of Andre Francis awarded them first prize in the 21st edition of the La Defense competition. For the first time in the history of the contest, which is noted for its recognition of young French jazz talent, the highest honors went to a vocal group ? and an a cappella one at that! Their name? The Grandes Gueules ? or, more specifically, Elsa Gely, Pascale Ruvira, Veronique Lherm, Odile Fargere, David Richard and Bruno Lecossois.
Winning this prestigious award, as well as first prize in composition, convinced Bruno Lecossois to persevere in his mission: “To honor and pursue Mimi Perrin?s pioneer project, the Double Six of Paris ? in our own way, forty years later.” In 1999, despite great public acclaim, the vocal group hardly had enough concert dates to stay afloat. Two members of the team lost faith and bailed out. Then a peripheral project finally saved the day. In July 2000, the Grandes Gueules went to the Avignon festival to perform the “Boby Groove” program and promote their last self-produced album. More than a concert, it was a date with public success - and another stimulus to pursue the dream at any cost. In the Fall, the three founding members of the Grandes Gueules - Elsa Gely, David Richard, and the ever-present Bruno - welcomed three new female voices to their ranks: Candice Danichert, Christelle Monchy and Sonia Nedelec. And the group got back to work.
After so much experimentation, Bruno Lecossois wanted a change and decided to write a complete, accomplished work; from the very beginning, he called this visionary project Absolut vocal. The path he chose allowed him to express the full range of his imagination, vitality, humor, and love of fantasy. Living in seclusion on nothing but his musical vibrations, Bruno spent a year with the group to develop the matrix of Absolut. The result is a highly personal work combining such rhythmic interchanges, subtle juxtapositions of structure and movement, and familiar and novel thematic development that the listener is inspired to reflect on the many mysteries of song.
With apparent ease, throughout the suite the Grandes Gueules create a sort of childlike musical poetry that no playground rivalry can touch. The rich sound and balanced vocals give the group a rare, unique sound unlike any other a cappella ensemble; their expression is accessible, demanding yet free, healthy, and bright with musical passion.
By chance a demo recording found its way to BMG; the reaction was immediate and enthusiastic. Driven by the dream of signing a contract, the Grandes Gueules mustered the hope and energy to record “Absolut Jazz Vocal A Cappella.” Using their patiently and passionately refined original repertoire, Bruno Lecossois and his cohorts soar on the wings of virtuosity, running the gamut of words and sounds and boldly revealing a new world of musical expansion. The earth?s vibrations become their playground as they develop joyful sound landscapes and floating musical backgrounds, whistle, click their tongues, and rub their hands together to increase their polyrhythmic possibilities. Their collective joy of singing takes the listener to unheard-of vocal spaces.
01. Intro (3:36)
02. Tuneltek (2:53)
03. Tekbatuk (3:58)
04. Desert (3:17)
05. Plus ca ralentit (plus c’est coton a caler du bon cote du temps) (3:19)
06. Pieplum (3:34)
07. L’amour (3:09)
08. Groznie/Tubul (3:43)
09. Des pachas pas faches (1:45)
10. Espanol (4:02)
11. Coucou (3:26)
12. Plumplum (4:32)
13. Valse (1:45)
14. Final (3:14)