430:, the ensemble has a naturally deep bottom end, due to Favre's drums, Oëster's double bass, Zwiauer's bass guitar and Godard's tuba and serpent playing, with the middle- to high-end instrumentation courtesy of Schaufelberger's guitar, Kroll's soprano saxophone and bass clarinet and Breschand's harp. Despite featuring very bottom-heavy instrumentation, the music has been noted by critics for its light, airy, ethereal sound. The light texture to the music is largely provided by several characteristics, namely numerous instruments playing concurrently, low instruments often being played in their highest registers, arrangements with shifting instrument focuses at any given time, and the "touch used by the bassists." Budd Kopman of
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440:"The music dances (often literally), and is light, airy and transparent. Favre seems to go out of his way to choose instrumentation that works against such a result by being bottom-heavy: acoustic and electric bass, tuba, serpent and bass clarinet are included. However, to lighten things, soprano saxophone is used instead of bass clarinet at times, while harp and guitar are added to the mix; plus, of course, Favre's precise and light drums and percussion."
499:. Writer Andy Kelman writes that the track's "Middle-to-Far Eastern flavor" is countered by its "more expansive landscape" with Schaufelberger's guitar solo and Kroll's bass clarinet solo. A steady bass drum largely supports the other instrumentation throughout "Nile", which features low-end serpent working against the "pinging" harp. Favre's percussion is most emphasised on "Decors," which contains the album's only genuine
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highlights that Favre not only masters his own instrument but also "has complete command in the fields of composition and arrangement." He felt that the album was "timeless" despite its allusions to
Renaissance music on "Mort d'Eurydice" and "Decors," with each track boasting an individual charm, and
458:
feels it is the bass, drums, guitar and harp which combine to "carry the pulse" against the strong rhythmic backdrop on all seven compositions. Although Favre is the bandleader, he generally keeps to a melodic sound that generally places his drums equal to other instruments in the mix, although he
262:
The music has a deep bottom end due to the low-end instruments, but Favre keeps a light texture, partly due to the low instruments being played in their highest registers and arrangements which highlight different instruments. The album was influenced by
Renaissance music and baroque music. Favre
484:
Opening track "Mort d'Eurydice" alludes to
Renaissance music and starts with a harp and percussion-based free section. The piece's central section features a bass-set rhythm resembling a heartbeat. "Panama" is the most melodic track, with figures from the harp and double bass accompanied by hand
675:
into a kaleidoscope of surprising musical colors." Though expressing a "niggling complaint" in that Kroll's piping soprano saxophone "can land the quirky group sound back in overly familiar ECM territory," he nonetheless felt the combinations of the other instruments were imaginative and help
396:
on harp, and Bänz Oester on double-bass. This line-up was considered unconventional, with one writer noting that the inclusion of the serpent, a military horn, was particularly unusual for a jazz album. The album was recorded in
October 2005 at Volkshaus,
656:
was released on 10 October 2006 by ECM Records. It features a photograph by Jean-Guy
Lathuilière on the album cover and further photographs in the liner notes by Ueli Nüesch. The album received positive reviews from music critics. Thom Jurek of
405:
to provide "an unhurried sense of time's stasis," thus making the album "all the more appealing" in that it slowly brings listeners through the recording. Eicher mixed the album with Favre at Idee Und Klang Studio, Switzerland.
708:, John Kelman said: "There are those who believe that percussionists don't make compelling composers and/or bandleaders. Favre's small but significant body of work for ECM lays waste to any such claims, with
255:, presenting a new line-up that departed from the previous incarnation's all-percussion sound. The septet now included harp, double clarinet, double bass, tuba, guitar, bass guitar, soprano saxophone, and
485:
percussion, before giving way to a flash of cymbals announcing a more ethereal section where the guitar approximates a melody. The track contains three solos and ends with a brief, non-sequitur
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does not forgo the larger rhythmic aspect of the drums, as is evidenced by "Reflet Sud," which "moves inexorably and insistently forward." Regardless, Steve
Futterman of
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is an album of gorgeous, flowing textures and sound colors that seduce the listener toward them, bringing them slowly along through the recording". Steve
Futterman of
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one of Favre's "most captivating albums" and wrote that "it is the agreeable melodies and the ingenious, fresh and attractive voicings that distinguish the session."
275:
As a drummer, Favre built a career as one of jazz's most respected percussionists. His work has become defined by a lack of boundaries, working in styles such as
492:"Fire Red-Gas Blue-Ghost Green" is said to be the most ethereal track, which opens with bass guitar and double bass and transforms into a jazz tune containing
401:, with ECM owner Manfred Eicher producing the recording and with engineering by Daniel Dettweiler. The space in Eicher's production were said by Thom Jurek of
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concluded that "Favre has created music of many layers that exists totally outside of any specific genre. By turns profound, exciting and overtly beautiful,
489:. "Reflet Sud" displays the anchoring tuba and serpent balancing the basses, before the guitar work moves the instruments into a middle-range improvisation.
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distinguish the project from other jazz albums. He also felt that Favre's "lean toward scrupulous craft" was perhaps emblematic of his Swiss background.
376:(1995). It is a return for the Pierre Favre Ensemble, now containing a new line-up of Favre on percussion and drums, Wolfgang Zwiauer on bass guitar,
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on the piece, while Kopman more broadly wrote that the song creates tension via its constant shift "between
Renaissance dance and African
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established his "fertile relationship" with ECM. Although the album inspired Favre's
Singing Drums ensemble, which recorded the album
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503:. Futterman felt Favre's "evocative hand-drumming" on the track " past a stately theme." Witherden detected the influence of
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338:(1984), an all-percussion recording and the first album by the Pierre Favre Ensemble, at the time consisting of Favre,
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writes that Favre's "selfless adherence to big-picture equilibrium" means that he rarely feels like the band leader.
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maintains a melodic sound which doesn't dominate over other instruments. Music critics praised
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is Favre's first album for ECM in over a decade, his final up until that point being
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are evident throughout the album's blended musical textures. Barry
Witherden of
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October the following year—twenty two years after the ensemble's 1984 debut,
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Ensemble, recorded in Switzerland in October 2005 and released on
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was largely favourable, saying that "Favre rigorously transforms
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1008:(liner). Pierre Favre Singing Drums. Intakt Records. 1998.
362:, he did not record another album with the ensemble until
287:. For ECM he has contributed to many albums, including
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1070:(liner). Pierre Favre Ensemble. ECM Records. 2006.
946:(liner). Pierre Favre Ensemble. ECM Records. 1984.
974:Free Jazz and Free Improvisation: An Encyclopedia
704:is art of the highest degree". Also writing for
1080:: CS1 maint: others in cite AV media (notes) (
1018:: CS1 maint: others in cite AV media (notes) (
956:: CS1 maint: others in cite AV media (notes) (
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778:Frank Kroll – soprano saxophone, bass clarinet
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16:2006 studio album by Pierre Favre Ensemble
1250:Witherden, Barry (February 2007). "Reviews".
977:. Greenwood Publishing Group. pp. 144–.
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748:"Fire Red – Gas Blue – Ghost Green" – 7:55
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332:Favre's first album as leader for ECM was
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418:Pierre Favre in October 2005, the month
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304:Once Upon a Time - Far Away in the South
1286:"Pierre Favre Ensemble Mort d'Eurydice"
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324:Volkshaus, Basel, Switzerland, where
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1104:Futterman, Steve (10 January 2007).
695:correspondent Budd Kopman felt that
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243:is the second album credited to the
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809:"ECM Records Catalog: 1900 series"
14:
1373:Albums produced by Manfred Eicher
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1041:. BBC Magazine. 2006. p. 88
860:"Pierre Favre at All About Jazz"
769:Pierre Favre – drums, percussion
731:All compositions by Pierre Favre
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1221:"Pierre Favre Ensemble: Fleuve"
1143:"AllMusic Review by Thom Jurek"
1106:"Pierre Favre Ensemble: Fleuve"
784:Philipp Schaufelberger – guitar
477:French tuba and serpent player
1363:Pierre Favre (musician) albums
1219:Kelman, John (18 April 2007).
790:Wolfgang Zwiauer – bass guitar
1:
1182:Kopman, Budd (30 July 2007).
436:writes of the overall sound:
285:contemporary classical music
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971:Jenkins, Todd S. (2004).
787:Bänz Oester – double bass
532:
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232:
199:
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26:
919:"Pierre Favre Biography"
736:"Mort d'Eurydice" – 5:33
712:the best argument yet".
271:Background and recording
781:Helene Breschand – harp
388:and soprano saxophone,
358:(1998) for Swiss label
1184:"Pierre Favre: Fleuve"
772:Michel Godard – tuba,
481:
442:
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390:Philipp Schaufelberger
329:
294:Such Winters of Memory
1340:(580–587): 164. 2007.
1324:All About Jazz Review
1311:All About Jazz Review
1275:accessed May 19, 2014
764:Pierre Favre Ensemble
515:Release and reception
476:
417:
323:
722:a "majestic" album.
618:(John Kelman review)
580:(Budd Kopman review)
520:Professional ratings
221:Solo: Münster, Berne
1076:cite AV media notes
1014:cite AV media notes
952:cite AV media notes
745:"Reflet Sud" – 8:03
679:Barry Witherden of
521:
148:Ensemble chronology
1358:ECM Records albums
1338:Les Inrockuptibles
1252:BBC Music Magazine
1038:BBC Music Magazine
715:Les Inrockuptibles
682:BBC Music Magazine
519:
482:
455:BBC Music Magazine
424:
399:Basel, Switzerland
330:
72:Basel, Switzerland
984:978-0-313-33314-9
866:on 10 August 2011
813:www.jazzdisco.org
742:"Albatros" – 7:57
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384:, Frank Kroll on
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754:"Decors" – 7:30
739:"Panama" – 6:35
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706:Just About Jazz
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1225:All About Jazz
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891:"Pierre Favre"
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835:"Pierre Favre"
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692:All About Jazz
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615:All About Jazz
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576:All About Jazz
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494:Middle Eastern
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433:All About Jazz
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360:Intakt Records
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751:"Nile" – 8:24
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726:Track listing
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525:Review scores
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479:Michel Godard
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450:baroque music
447:
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386:bass clarinet
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378:Michel Godard
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352:Singing Drums
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335:Singing Drums
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1322:Kelman, J.,
1318:
1309:Kopman, B.,
1305:
1293:. Retrieved
1289:
1280:
1255:
1251:
1228:. Retrieved
1224:
1191:. Retrieved
1187:
1150:. Retrieved
1146:
1113:. Retrieved
1109:
1067:
1043:. Retrieved
1037:
1005:
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988:. Retrieved
973:
966:
943:
938:
926:. Retrieved
922:
898:. Retrieved
895:Drummerworld
894:
868:. Retrieved
864:the original
854:
842:. Retrieved
838:
828:
816:. Retrieved
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444:Elements of
443:
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422:was recorded
419:
380:on tuba and
374:Window Steps
373:
369:
368:
363:
355:
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344:Fredy Studer
333:
331:
328:was recorded
325:
312:
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299:Dino Saluzzi
292:
274:
264:
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245:Pierre Favre
239:
238:
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212:
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193:Pierre Favre
175:
167:
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146:Pierre Favre
92:chamber jazz
61:October 2005
42:Pierre Favre
37:Studio album
1368:2006 albums
1336:"Reviews".
1295:22 February
1271:Jurek, T.,
1230:21 February
1193:21 February
1152:21 February
1115:21 February
1045:22 February
990:22 February
928:22 February
900:22 February
509:polyrhythms
505:Tudor music
446:Renaissance
426:Throughout
392:on guitar,
340:Paul Motian
307:(1986) and
289:John Surman
281:world music
1352:Categories
1290:Soundcloud
1110:Jazz Times
795:References
668:Jazz Times
497:modalities
462:Jazz Times
309:Paul Giger
205:Two in One
195:chronology
759:Personnel
501:drum solo
469:Structure
277:free jazz
176:Le Voyage
69:Volkshaus
1147:AllMusic
1006:Souffles
923:AllMusic
870:21 March
844:21 March
839:AllMusic
659:AllMusic
539:AllMusic
403:AllMusic
356:Souffles
317:(1991).
314:Alpstein
297:(1983),
134:Producer
127:ECM 1977
58:Recorded
50:Released
44:Ensemble
39: by
818:May 19,
774:serpent
718:called
685:called
382:serpent
257:serpent
224:(2005)
217:(2006)
208:(2005)
179:(2010)
172:(2006)
163:(1984)
1068:Fleuve
981:
720:Fleuve
710:Fleuve
702:Fleuve
697:Fleuve
687:Fleuve
673:Fleuve
663:Fleuve
654:Fleuve
533:Rating
530:Source
428:Fleuve
420:Fleuve
370:Fleuve
364:Fleuve
346:, and
326:Fleuve
283:, and
265:Fleuve
240:Fleuve
213:Fleuve
168:Fleuve
101:Length
66:Studio
22:Fleuve
410:Music
118:Label
79:Genre
1297:2018
1232:2018
1195:2018
1154:2018
1117:2018
1082:link
1047:2018
1020:link
992:2018
979:ISBN
958:link
930:2018
902:2018
872:2010
846:2010
820:2014
487:coda
448:and
87:Jazz
511:."
311:'s
301:'s
291:'s
249:ECM
123:ECM
1354::
1288:.
1264:^
1256:15
1254:.
1240:^
1223:.
1203:^
1186:.
1162:^
1145:.
1125:^
1108:.
1090:^
1078:}}
1074:{{
1055:^
1028:^
1016:}}
1012:{{
954:}}
950:{{
921:.
910:^
893:.
880:^
837:.
811:.
366:.
350:.
342:,
279:,
267:.
110:57
106:51
1299:.
1258:.
1234:.
1197:.
1156:.
1119:.
1084:)
1049:.
1022:)
994:.
960:)
932:.
904:.
874:.
848:.
822:.
108::
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