“Goes on my best of the year list.” – Dereck Higgins
“Top 5 album of 2023” – Jos Demol, JazzHalo
“This is one of the most fun-filled endeavors I’ve heard in recent times so please do check it out for yourself.” – Bruce Lee Gallanter, Downtown Music Gallery NYC
“An intriguing release that evokes the feeling of the city, avoiding romanticism, but conjuring up the charm and vitality.” – Matthew Wright, JAZZ JOURNAL
Cécile Broché – composition, soundtracks, electric violin
Russ Lossing – piano, fender rhodes, hammond
Satoshi Takeishi – drums and percussion
Paris, marked by the passage of time – Paris, alive and cosmopolitan – Paris, inspiration to poets – The City of Light!
“3D@Paris” interweaves music with the sounds of everyday life in Paris. Let yourself be swept along on a dreamy stroll through the city. The charm of murmuring voices. The fascinating musicality of crumpling paper, the rhythmical beat of the Metro. The musicians respond, enhance, offset. There is a beguiling story being told here.
As a composer, Cécile Broché proposes a completely original and personal approach to the violin. Drawing her inspiration from her encounters and a varied career, she explores the potential and the possibilities so particular to the electric violin; rhythms, melodies, sound images, unsuspected palette… It is also a meeting of music and sounds of everyday life. On stage, the violin underlines them, opposes them, pulses. It is simply a story, the story of life, told with sounds
Goes on my best of the year list. – Dereck Higgins.
Un album qui propose une approche originale et personnelle du violon. – Guy Stuckens, RADIO AIR LIBRE
Featuring Cécile Broché on electric violin, field recordings & compositions, Russ Lossing on piano, Fender Rhodes & Hammond organ and Satoshi Takeishi on drums & percussion. I know of Belgian violinist Cécile Broché from her work with Lou Grassi & Chris Joris plus she’s played here at DMG on a couple of occasions. This disc was first recorded live in Paris in surround sound with eight speakers employed. What’s interesting is that Ms. Broché chose to use two Downtown musicians who live in the NYC area. Pianist Russ Lossing has around 19 discs out on labels like Sunnyside & Steeplchase. Satoshi Takeishi is a unique drummer whose set-up if different from most, recording with a variety of local (& otherwise) heroes: Shoko Nagai, Janet Rigler, Daniel Carter & Marco Cappelli. Ms. Broché recorded the sounds of Paris and used them throughout for this entire session. “Lully’s Dream, Lully’s Nightmare” sounds like a sparse lullaby, with a lovely piano floating above a skeletal dreamscape. When Ms. Broché’s violin comes in, the pace & intensity picks up. On one hand the trio seems to be playing short, thoughtfully composed or directed pieces which are interwoven with field recordings taken from Paris: in a subway, in a bakery, a concierge in a hotel, etc. Ms. Broché has a classic sound on her electric violin, using effects subtly and remaining musical throughout. Instead of soloing, Russ Lossing often frames these pieces by playing short melodies or rhythm or bass lines on his piano, electric piano or organ. Many of the pieces are stripped down, playful and rarely dark. The found sounds are used more like sonic seasoning to add some depth or counterpoint to the trio’s charming music. On “Saint-Sulpice”, Ms. Broché’s sampled subway sounds sizzle around an uptempo, moving subway-like melody. Many of the pieces are self-contained jazz/pop tunes, infectious & fun & never very long. In some ways, this entire CD sounds like we are taking a subway in Paris and stopping off at a bakery, a hotel or a museum and then getting back on the subway. All the 20 pieces here are continuous, flowing into one another as we go on our journey into the Paris under and above ground stops. This is one of the most fun-filled endeavors I’ve heard in recent times so please do check it out for yourself. – Bruce Lee Gallanter, Downtown Music Gallery NYC
Electric violinist, keyboard player and percussionist evoke a journey around Paris, referring to blues, rock, world music and Claude Debussy. Using Paris as the inspiration, this is a journey through the city, from Arrival at Gare du Nord to Departure at Gare de Lyon; musical images of places linked by a circuitous Metro route. The Metro and subways take the form of short connecting pieces, composed of murmurs, snippets of conversation, railway announcements and the sounds of tube trains and doors, some actual, others replicated. Belgian violinist Cécile Broché is joined by American Russ Lossing, whose piano is used as lead in a fairly formal acoustic way, as at the start of Lully’s Dream, on Café –Croissant and Guillotine’s Waltz. His other keyboards tend to serve as broad textures and infills. Satoshi Takeishi’s drums and percussion add to the mix, occasionally laying down a rock beat, on Back To Future and on Prélude À L’Après-Midi, a variation of Debussy’s composition, the disassembly of melody and a repeated riff making it less impressionistic. Broché’s violin ranges from experimental and electronic to punchy blues-inflected, as on Message Bar, and her additions are imaginative and interesting. The tracks have subtitles, referring to places, and the music often reflects their character. Guillotine’s Waltz is linked with Conciergerie, the site on Île De La Cité where a prison held those awaiting their fate. Menace and discord make way for a very brief calm. Nouvel An Chinois (Chinese New Year) is celebrated at Bastille, the violin adopting a slightly oriental feel. Sous Le Pont Mirabeau has as its subtitle Coule La Seine, referencing Apollinaire’s poem – the river and love running away under the bridge; Broché’s tone is appropriately melancholy. D’s Market is placed at Barbès, where the high Metro is a canopy for Asian and African traders, characterised by street shouts and percussive elements. An intriguing release that evokes the feeling of the city, avoiding romanticism, but conjuring up the charm and vitality that it still holds despite the modernisation and societal issues. – Matthew Wright, JAZZ JOURNAL, https://jazzjournal.co.uk/2023/10/10/cecile-broche-3dparis
Mit „Violin@New-York“ als solistischem Blueprint streift die belgische Komponistin & E-Violinistin CÉCILE BROCHÉ – in Brooklyn – mit Russ Lossing an Piano, Fender Rhodes & Hammond und dem Drummer Satoshi Takeishi, die sich vom Gordon Grdina Quartet her kennen, bei 3D@paris (Discus 156CD) durch – Paris. Zwischen der Ankunft am Gare du Nord und der Abfahrt vom Gare de Lyon queren sie in Metro-Etappen von Saint-Paul über Saint-Sulpice durch Barbés und Belleville vorbei an der ‘Marianne’ und der Bastille bis Saint-Lazare und der Pont Mirabeau. Im Mund Croissantgeschmack, im Hinterkopf Lully, Debussy, einen ‘Guillotine’s waltz’, Apollinaire – mir schießen Léo Malet und Théo Ceccaldi in den Sinn. Mit prickeliger, schwirrender Geige, träumerischem oder agilen Arpeggio, rhythmischem und waberndem Keyssound, flirrender, knackiger, rollender Percussion im Dérive von barock bis diskant, mal groovy, mal besinnlich, mal avant. Durchsetzt mit Stimmen, Verkehrsgeräuschen, Bahnhofsdurchsagen als Pariser O-Ton und Lokalkolorit. Broché hat starke Eindrücke von Garrett List empfangen, bei dem sie in Liège studiert hat, und in der Eclectic Maybe Band Martin Archers Aufmerksamkeit gewonnen. Es fällt leicht, sich seiner Wertschätzung anzuschließen. – Rigobert Dittmann, BAD ALCHEMY [BA 121 rbd]
Music is a journey. The sounds of travel are music. “3D@Paris” is Cécile Broché’s latest album featuring Russ Lossing (piano & keys) and Satoshi Takeishi (drums). The violinist has composed about twenty themes with sounds recorded in stations, trains, subways, streets, bars or recorded on voice messages. The trio made history out of it, in the form of travel books. We start with a baroque pseudo requiem that suddenly takes gypsy accents to train us in a crazy, unbridled race. In every “step”, the emotion, tension, sensation is different. Noises, clear or phantom, blend with brief or sometimes just spoken melodies. The violin answers and makes up, the drums proposes, the piano underlines or slices and the Fender covers. Between the frenzy (hustle, traffic) and the calmness (sleepiness, coffee on the terrace), sometimes a bit of nostalgia is invited. But it’s the contemporary and modern Paris that we talk about here. Debussy, baroque, prog rock, jazz and humour abound in this concept album – as it was once said – that takes us from point A to point B by taking many crossroads. Here’s an album that greatly stimulates the imagination. Have a nice trip. – Jacques Prouvost jazzques.wordpress.com
Ils sont trois : Cécile Broché au violon et à la composition, Russ Lossing aux claviers, Satochi Takeishi à la batterie. 3D@Paris, ce pourrait donc être 3 « dudes » à Paris, ou 3 jours à Paris, ou Paris en 3 dimensions, puisque le son de la ville y est inclus. Qu’importe la devinette, ce qui compte, c’est la musique. Et elle est superbe. Cécile Broché a promené son enregistreur dans la ville lumière et a capté les sons de la ville, les annonces de la Gare du Nord, le bip d’un téléphone à Belleville, des conversations surprises çà et là, des « bonjour », des pas sur le pavé, le bruit du métro, etc. Elle a trié, rassemblé, coupé, créé une bande-son à partir de laquelle elle a composé des musiques, assez courtes. Et voilà vingt pistes, du lever du soleil (Sunrise) à son coucher (Sunset), via Saint-Paul, Saint-Lazare, Sous le pont Mirabeau, Departure Gare de Lyon… Une promenade, une histoire. Où les musiciens dialoguent avec les sons d’ambiance, où l’improvisation transcende la composition, où la poésie omniprésente mène au rêve. On y est à Paris, suffit de fermer les yeux et d’écouter. On est même plus loin : dans la musique, dans un océan de sonorités qui nous mènent ailleurs. Et on est bien. 4 stars – Le Soir
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