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Composer, compositeur
Compositions, In the Medias, News, Press Reviews

CD Critic of Bassoonist

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Wow! A critic already for the album Bassoonist just came out and it feels like a message from the past. As I said on my previous article, the recording of the premiere of Mellow Tones for Johnny was done in 1993. The concert was held in New York at the chapel of Columbia University. It’s funny to get comments about an event 17 years after it was given!!!

You can buy the album by visiting the AFMM website.

Here is what Chris Cutler from ReR Megacorp in England has to say :

«A very small, essentially handmade, edition of 300 copies of pieces researched and performed for the microtonal society at various venues in New York This is a collection of mostly microtonal compositions exploring extended bassoon techniques, the solo works often on the same turf as free improvisation, though not always. Louis Babin’s Mellow Tones for Johnny – for small ensemble – stands out, as does Talibanned Buddhas, for contrabassoon, cello gong, bowls and bells. A valuable window on a world seldom encountered.»

Chris Cutler
ReR
Surrey, England

Compositions, In the Medias, News, Press Reviews

Critique du DC Bassoonist

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Une critique de l’album Bassoonist qui vient de sortir me fait l’effet du retour d’un fantôme! Comme je le disais dans mon article précédent, l’enregistrement de la création de Mellow Tones for Johnny date de 1993. Le concert était donné à New York dans la petite chapelle de l’université Columbia. Ça fait drôle de lire des commentaires sur un événement qui est vieux de 17 ans !!!

Vous pouvez vous procurez l’album en visitant le site de l’AFMM.

Et voici ce que Chris Cutler de ReR Megacorp en Angleterre en pense :

«A very small, essentially handmade, edition of 300 copies of pieces researched and performed for the microtonal society at various venues in New York This is a collection of mostly microtonal compositions exploring extended bassoon techniques, the solo works often on the same turf as free improvisation, though not always. Louis Babin’s Mellow Tones for Johnny – for small ensemble – stands out, as does Talibanned Buddhas, for contrabassoon, cello gong, bowls and bells. A valuable window on a world seldom encountered.»

Chris Cutler
ReR
Surrey, England

Compositions, News

Deux albums sortent!

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Il était une fois un temps où j’étais trompettiste. Le passé me rattrape avec la sortie de deux albums du American Festival of Microtonal Music (AFMM) à New York : Ideas (PITCH P-200212) ainsi que Bassoonist (PITCH P-200214). Les deux albums sont produits et réalisés par mon vieil ami bassonniste, chef et compositeur Johnny Reinhard qui a créé l’AFMM et qui le dirige encore.

Vous pouvez les acheter sur CDBaby!

Vous m’entendrez interpréter à la trompette la pièce Ulysses Departs From The Edge de Harry Partch. Cet enregistrement de l’album Ideas date de 1988.

Je fais aussi partie d’un petit ensemble pour la création de ma propre pièce Mellow Tones For Johnny. Deuxième titre de l’album Bassoonist je relis avec plaisir le texte de programme que j’avais écrit à l’époque, soit en 1993 (J’ai conservé le texte original en anglais) :

“Listening back to the live recording of Mellow Tones for Johnny brings to me some nostalgia. I remember what I wanted to capture while I composed this piece: some of the freedom we got out of the eclectic repertoire the American Festival of Microtonal Music (AFMM) was able to offer. Mostly it was a gift to a dear friend of mine: Johnny Reinhard. He devoted so much passion over the years for this music. It was written in the stars I would some day commit myself to some microtonal technique. Being trumpeter of the AFMM Ensemble for so long, I felt it was important for me to leave something of my own perspective. I worked hands on with the sound using a synthesizer mapped in quarter tones. The piece is in two parts, beginning with a Prelude that sets the mood for the entrance of the bassoon in a lyrical fashion. The second part moves to particular rhythmic and contrapuntal elements. After some cinematic images, the two good friends close in conversation together: trumpet and bassoon. A special thanks to the contribution of Skip La Plante’s exotics instruments rescued from the streets of New York City, as well as to the fine direction of Gines-Didier Cano.”

J’ai eu le privilège de faire partie d’un groupe formidable de musiciens dédiés à la recherche de nouvelles perceptions des sons.

Merci encore Johnny après toutes ces années.

Compositions, News

Two Albums Releases

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I was once a trumpeter. Coming from the past, two records are now available of my life as a performer with the American Festival of Microtonal Music (AFMM) in New York : Ideas (PITCH P-200212) and Bassoonist (PITCH P-200214). Both albums are produced by my dear friend the bassoonist, director and composer Johnny Reinhard who created and still manage the AFMM.

You can buy them at CDBaby!

You can hear me playing in 1988 on Harry Partch’s Ulysses Departs From The Edge on the album Ideas.

I am also part of the ensemble in one of my first commissioned work Mellow Tones For Johnny. It is part of Bassoonist and I read with a smile the liner note I wrote at the time in 1993:

“Listening back to the live recording of Mellow Tones for Johnny brings to me some nostalgia. I remember what I wanted to capture while I composed this piece: some of the freedom we got out of the eclectic repertoire the American Festival of Microtonal Music (AFMM) was able to offer. Mostly it was a gift to a dear friend of mine: Johnny Reinhard. He devoted so much passion over the years for this music. It was written in the stars I would some day commit myself to some microtonal technique. Being trumpeter of the AFMM Ensemble for so long, I felt it was important for me to leave something of my own perspective. I worked hands on with the sound using a synthesizer mapped in quarter tones. The piece is in two parts, beginning with a Prelude that sets the mood for the entrance of the bassoon in a lyrical fashion. The second part moves to particular rhythmic and contrapuntal elements. After some cinematic images, the two good friends close in conversation together: trumpet and bassoon. A special thanks to the contribution of Skip La Plante’s exotics instruments rescued from the streets of New York City, as well as to the fine direction of Gines-Didier Cano.”

I had the priviledge to be part of an exciting group of musicians dedicated to new ways to look upon tone perceptions.

Thank you again Johnny.