Au diable vert, by René Lussier

Au diable vert

by René Lussier

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Au diable vert, Coffret réédition-Le trésor de la langue (1989-2007), Complètement marteau, REZA & MOI, René Lussier Quintette, Fin du travail (version 1), Dur noyau dur "LIVE EN FRANCE", LEPAGE / LUSSIER et le quatuor Bozzini. Chants et danses...with strings!, and 17 more. , and , .

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1.	13e séance 05:40	buy track
2.	Western ô pode 03:42	buy track
3.	Le boeuf qui rit 05:00	buy track
4.	Barré 09:03	buy track
5.	Dindon assassin 04:36	buy track
6.	les axes de la boussole 08:12	buy track
7.	Cinq accords pour Takashi 04:15	buy track
8.	Leçon de danse 04:02	buy track
9.	Dans tentaculaire 03:40	buy track

about

Au Diable Vert

Depuis plus de vingt ans, j’habite une campagne isolée. De la route, la maison semble enfouie dans les arbres, en contrebas du rang en terre qui aboutit dans un cul-de-sac. Personne n’arrive chez moi par hasard. Mes invités se perdent régulièrement en route, surtout ceux qui se fient à leurs GPS. On pourrait donc dire que j’habite au diable vert.
Au diable vert ou au diable au vert ou au diable Vauvert : Tous ne s’entendent pas sur l’origine de cette vieille expression française et ses différentes déclinaisons, mais tous s’accordent généralement pour dire qu’elle décrit un lieu reculé, retiré, difficile d’accès, où la nature a gardé ou repris ses droits. Un lieu où l’on se découvre égaré, sans trop savoir quand on a perdu ses repères.
Je suppose que cette définition pourrait aussi s’appliquer à ma musique. J’ajouterais une dimension de liberté : la joie d’avancer à l’aveugle et de tenir bon jusqu’à la conclusion du voyage.
À l’origine de ce projet, de nouvelles compositions pour mon quintette : Luzio Altobelli, Julie Houle, Robbie Kuster et Marton Maderspach. Et puis la pandémie est arrivée et rien ne s’est passé comme prévu. Des mois de correspondances numériques pour surmonter les distanciations imposées. Les compositions se sont transformées pour accueillir de nouveaux joueurs : Guillaume Bourque et Alain Trudel. J’ai aussi invité Koichi Makigami et Takashi Harada avec qui le quintette avait joué à Tokyo, demandé à mon ami Chris Cutler de me lire un de ses poèmes sur l’état du monde, enregistré les voix des musiciens la première fois que nous nous sommes revus en studio après 15 mois, celle de mon psy et la mienne lors de notre 13ième séance, le ronron du matou errant qui venait réclamer des croquettes et le chant ensorcelant des grenouilles quand le printemps est enfin arrivé au diable vert.

(english)

Au Diable Vert

I have been living in an isolated part of the countryside for more than two decades. From afar, the house seems buried in the trees, below the dirt road that ends in a cul-de-sac. No one comes to my place by chance. My guests regularly get lost on the way, especially those who are relying on their GPS. In French, you could say that I live “au diable vert.”
“Au diable vert,” “au diable au vert,” “au diable vauvert”: there is no consensus on the origins of this old French phrase and its variations, but everyone generally agrees that it describes a remote, withdrawn, difficult to access place where Nature has kept or reclaimed its rights. A place where you find yourself lost without really knowing when exactly you lost your bearings.
I suppose this definition could also apply to my music, although I would add a freedom element: the joy of moving forward blindly and holding on until the end of the journey.
This project started with new compositions for my quintet: Luzio Altobelli, Julie Houle, Robbie Kuster and Marton Maderspach. Then the pandemic struck and nothing went as planned. There were months of digital correspondence to overcome the imposed distances. The compositions changed to accommodate new players: Guillaume Bourque and Alain Trudel. I also invited Koichi Makigami and Takashi Harada, with whom the quintet had played in Tokyo, to contribute. Next was my friend Chris Cutler, whom I asked to read one of his poems on the state of the world. And I recorded the voices of the musicians at our first time in the studio in 15 months, my and my therapist’s voices at our 13th session, the purr of the wandering tomcat who comes to ask for kibble, and the bewitching songs of frogs when spring finally found this remote place I call home.

credits

released September 16, 2022

René Lussier guitares, basse, percussions
Luzio Altobelli accordéon, marimba
Julie Houle tuba, euphonium
Robbie Kuster batterie gauche, array Mbira, égouïne
Marton Maderspach batterie droite

Guillaume Bourque clarinettes
Alain Trudel trombone # 1, 2, 4
Koichi Makigami voix # 4
Takashi Harada ondes Martenot # 7
Chris Cutler voix # 8

Composition © René Lussier 2022
Leçon de danse © Robert M Lepage et René Lussier

Réalisation et montage René Lussier
Prise de son Pierre Girard et René Lussier
Mixage Pierre Girard
Mastering Trillium sound
Graphisme Julie Gauthier
Image Louis-Pierre Bougie
Photographie de l’œuvre Guy l’Heureux
Traduction François Couture

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René Lussier Montreal, Québec

renelussier.ca

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