From laser microgrooves… here, Nothing to book, everything to listen too!
To demonstrate the “musical biodiversity” cultivated since more than 35 years.
To discover the blue galaxy of Liege.
To try to free an aesthetic and/or a way of doing things in common with all these groups of yesterday and today.
For the pleasure of (re-)discovering music!
Old things, yes! But not necessarily outdated...
What follows is drawn from part 2 of the book ‘Sur la piste du Collectif du Lion… Une aventure plus que musicale’. Part 2 written by Claude Loxhay in the form of a discographical analysis.
Le Collectif du Lion
wists and turns of a music which pretends to give itself straightaway
With Francis Danloy, Michel Debrulle,
Denis Pousseur and Pierre Vaiana.
This quartet is dedicated to accompanying silent movies (like the Orchestre du Lion with Garrett List before it), followed by Impatience et Histoire de détectives [Impatience and Detective Stories] by Charles Dekeukelaire in 1983, Journal d’une fille perdue [Diary of a Lost Girl] by Pabst and Nosferatu by Murnau: a real care for interdisciplinarity. In 1984, the Collectif du Lion, within which improvisation takes the place of spontaneous composition, recorded a record for the Igloo label: eight sequences of “Film music without the film”.
Music to dance to appears on complex rhythms.
With Francis Danloy, Michel Debrulle, Pierre Jacob,
Gino Latucca, Michel Massot and Marc Pirard.
In a quasi simultaneous manner, the Collectif du Lion, born in 1982, Baklava Rhythm and Sounds. To begin with, it was a Trio: Michel Debrulle, Francis Danloy and Pierre Jacob, a musician from Namur coming from the Jazz Seminar of the Liege Conservatory and from the Improvisation class of Garrett List. To this trio would be added over time, other musicians like guitarist Jean-Pierre Urbano, the trumpeter Youssef Yancey or again Steve Houben to end up with the sextet of the LP Ciel et terre, , recorded in July 1985 for the Igloo label.
The smallest Big Band or is it Jazz?
With Fabrizio Cassol, Michel Debrulle and Michel Massot.
One day, a journalist Morgen, wrote: “People say it is jazz, I say it is shit!” To which Jazz Hot replied: “To listen to for those who don’t want to die as idiots and Jazz Magazine “Essential music for the European Jazz scene”.
Throw no more! You can see that the jazz from the “Smallest Big Band in the World” impresses. (Univers cité, '87)
Without forgetting the phrase of Jean-Pol Schroeder: “Aggressive music which moves, disturbs, passions. Jazz for the young, old man!”
In 2011, the first and last album of the group “Quatrième monde [Fourth World] came out from IGLOO in the Jazz Classics collection!
The science of improvised arrangements of jazz and the spontaneous force of rock or a shooting star.
With Fabrizio Cassol, Michel Debrulle, Thierry Devillers, Pierre Léonard, Michel Marissiaux and Michel Massot.
It is especially in its discography that Glasnotes can appear as a shooting star. If the group received a good welcome from the press, notably in rock circles, and saw the doors of major music publishing houses open for a hypothetical album, only a 45 rpm would in reality, be made for Franc’Amour in 1989.
And we can unveil here what would have been the LP of the epoque.
La Grande Formation
The heart and the mind together make a single continent
With Pierre Bernard, Fabrizio Cassol, Michel Debrulle, Marc Frankinet, Garrett List, Vincent Jacquemin, Michel Marissiaux, Michel Massot, Lucy Grauman, Marianne Pousseur, Antoine Prawerman and Pierre Van Dormael. The second album was made without Garrett List and David Linx replaced Lucy Grauman.
La Grande Formation is, without doubt, one of the most audacious projects coming from the Collectif du Lion and one of the most representative of this movement in Liege engendered by the specificity of the Liege Royal Conservatory and its de-partitioned teaching.
“If you believe in what the Grande Formation of Liege does, contemporary jazz music in Europe is alive and well. These twelve musicians coming from diverse horizons (Jazz, “contemporary” music, rock) have in common, having studied at the fertile Liege Conservatory directed by Henri Pousseur: one of the best conservatories in Europe and the sense of having a real de-partitioning working. Each can find there, what they are looking for to perfect themselves in their path or their musical genre, but are invited to cross-over and even practice, other types of music from that which they usually play.
(Jean-Claude Quéroy, Jazz Mag 405, 1991)
A dive into the Baroque universe
With Ariane de Bièbre, Michel Debrulle, Liam Fennely, Michel Massot and Véronique Ravier.
Michel Massot brought along his accomplice Michel Debrulle in a new adventure. Bathysaphe V: the encounter of several musical journeys, the desire to share different worlds of sound, said the test of the sleeve. Besides the drums and percussion side of Michel Debrulle, the trombone, tubas and sackbut ‘XVIIIth century ancestor of the tombone) a harpsichord, a “viole de gambe” (ancestor of the violin-cello) and a range of flutes (transverse flute, bass flute): a real dive into the Baroque universe after the honeymoon with contemporary classic music of La Grande Formation.