© Robin Davis

Paris-Istanbul-Shanghaï, de Joël Grare

Monique Parmentier, Resmusica.com, juillet 2008

« As adolescents, we have all embarked upon at least one of those enchanting voyages that as children we discovered on reading Marco Polo or Alexandra David-Neel. This record evokes a whole distant world where, carried on a breeze from afar, the sounds of ringing bells, beating drums, clashing castanets and kettledrums and the rhythm of marimbas, conjure up dreams of forgotten landscapes and stolen smiles, bringing lost worlds to life. This particular arrangement, La Rêveuse by Marin Marais, carries us far beyond the Bosphore shores, the Great Wall of China to places where time slows to a sensation of unutterable knowledge of the quintessential nature of the present moment… We owe this « barokn’roll » record, a mix of arrangements and personal compositions, to the talented percussionist, Joël Grare, who presents us with music combining instruments both baroque and traditional, managing to create a universe that lets us discover extraordinary other worlds. The Moon Drums ensemble and the Paris-Istanbul-Shanghaï ensemble that accompany Joël Grare on his voyage, invite you to embark on a journey and be carried on the wind to the bitter sweet world that Claire Lefilliâtre evokes in Hors che tempo di dormire. There floats the scent and reflection of an unsettling sensuality, like the caress of the silky gossamer veils the women wear to conceal themselves from probing glances and the bite of the harsh sun. By breaking into dissonances, she invites you into the pain of lost loves. »

The metal route is a luminous tribute, a treasure that shimmers like the myriad of reflections the sun casts on the waters of the oceans and lakes one must cross if one is to try to reach the unattainable. The bells of Ex voto, open up a portal to another realm.

About Follow

David Samson, « Classica » (2003)

« Profoundly deep round resonances, unravelling in hypnotic spirals : from the very start of the first five movements of the title piece we are transported to another realm. Follow « suite for bells from Chamonix », carries echoes from the Far East, balinese gamelans, tibetan wood, chinese chimes… Solo percussion is already something exotic in itself, requiring the listener to accept the letting go of all spatiotemporal bearings. The world of percussion knows no boundaries, and with such a versatile artist as Joël Grare, the experience of this record takes us on an even greater voyage. The music was originally composed to accompany a live dance performance, as is often the case here, such as the ballets of the chinese dancer Zhen-Wu. (Grare has also worked with Chopinot, Carlson, Preljocaj), which enhances further the exotic theme. As from the following cycle, Fugitives, Grare brings together a myriad of instruments from over seas (balafon, senza, bandir, japanese drum…) leading us to unknown horizons, somewhere between contemporary music and music of the, shall we say, worlds. He is an ethnomusical poet, who reminds me of Stepahn Micus ou Tarnia. For the last pièce, Koän, the percussionist is accompanied by two acolytes, a percussionist and a trumpeter… Throughout the record Grare shows himself to be a musician who, like Thom Willems – William Forsythe’s assigned composer, is quite happy to be left to his own devices. All those with curious ears will be happy to acquiesce to the invitation of the title and follow the percussionist in his wanderings. »

Klaus Blasquiz, « Musique » (2003) 

« This album is a true pearl, composed by a real virtuoso, who nevertheless avoids taking the easy route. Joël Grare is a percussionist and assured melodist, he controls rhythm and imagery to perfection, his compositions ooze with emotion, his chosen partners are unexpected (Nicolas Giraud, on the trumpet and Axel Lecourt, voices and mad tubes); all these base components create a music that is fresh and unassuming. Before being an instrumentalist, Joël Grare is first and foremost a musician, which is not to say he’s any less masterfully in control. Listening to this magnificent album, which I hasten to add is no technical demonstration nor a catalogue of exotic sounds, rather requires a particular quality of attention to not miss the subtleties and ambiances that require concentration in order to be fully appreciated. The reward of this small effort on our part is to experience enchantment close to white magic. »

%d blogueurs aiment cette page :