Tag Archives: Sylvain Leroux

Concert Recommendation: Sylvain Leroux “Quatuor Creole” CD release concert!

Date: Thursday, November 1, 2012
Time: 8pm – 9pm
Venue: ShapeShifter Lab (18 Whitwell Pl, between Carroll St & 1st St,Brooklyn, NY 11215, 646-820-9452)
Ticket: $11

On Thursday, November 1, 2012 Downbeat Rising Star Sylvain Leroux will present a live performance of his latest project “Quatuor Creole” featuring legendary vibist Karl Berger. Released in June, the CD has been well received by critics, eliciting such comments as: “… perfect contemporary music release…” (Dustin Garlitz, JazzTalent.com); “… gentle as a river in the afternoon sun.” (Thurston Hunger, KFJC); “… worthy addition to the canon of the world- jazz…” (Hrayr Attarian, All About Jazz); “… mellifluous acoustic quality…” (Howard Mandel, Jazz Beyond Jazz); “…belongs to a lineage of precious recordings […] such as CoDoNa, Oregon, Steve Wilson, Don Cherry, Dollar Brand and Chico Hamilton…” (Dan Behrman, Magazine Son & Image–translated from the French).

With Quatuor Creole, Leroux reexamines the fusion of European and African music that took place in the Americas and informs it with his deep experience.

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CD review: Sylvain Leroux’s music of “French Creole…Creoles of color”.

Artist: Sylvain Leroux
Title: Quatuor Creole
Label: Engine Rec
Genre: world/jazz
Review by Leo Volf

Sylvain Leroux‘s debut recording Quatuor Creole might not necessarily be groundbreaking or earth shattering, but at times is quite pleasant. The music is a mix of two New Orleans’ cultures: the “French Creole” and “Creoles of color”. While one can nitpick and pin point exactly where one can hear each particular influence, that does not seem to be Leroux’s prerogative. The album and this cultural fusion manage to create its own kind texture, one that is predominantly jovial. With that being said, there is still enough variety throughout the recording, mostly due to the ensemble’s diverse instrumentation, to keep the listener engaged for the full duration.

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Introducing The Chromatic Tambin

Text by Sohrab Saadat

“March 6th was my SoSaLa Nu World Trash CD release party at Nublu. I invited Sylvain Leroux, who’s from Canada and has been living and performing in NY for many years, to play with me in some of the songs because I love his flute playing. Gladly he accepted  my invitation and played in the songs which he had recorded with me. Before the gig he showed me about his Chromatic Tambin, and I think he used it during the show. So let him tell us what his new flute is about.

“The Chromatic Tambin, a new flute, has been invented by me, which I will unveil and demonstrate at the New York Flute Fair on Saturday, March 24. I will introduce the Chromatic Tambin, my innovative re-design of the traditional Guinean three-holed, side-blown tambin during a group concert entitled “The Dynamic Flute.” The new instrument has extraordinary possibilities.

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FULA FLUTE’s new videos!

(About the video: a new video of FULA FLUTE featuring Bailo Bah and Sylvain Leroux. Performing the song “Ndougouse Baobara” in an environment of works by French sculptor Alain Kirili.)

Sylvain Leroux (alto sax & fula flute) was born in Montréal. He studied classical music at Vincent d’Indy School of Music and

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Music listings – 11/29 through 12/5

1. Adam Rudolph’s Go Organic Orchestra

Date: Monday, November 29, 2010
Time:  8:30pm
Venue: The Roulette (20 Greene St., NY)
Ticket: $15
Genre: Jazz/contemporary

Composer Adam Rudolph returns with another series of Go: Organic Orchestraat Roulette. In concert he will conduct between 20 – 35 musicians in a spontaneous way, using a newly created score of music/letter grids, language themes, tone rows, traditional and synthetic scales, diadic and intervalic harmonies, The compositions will also utilize Rudolph’s rhythm concept of “Cyclic Verticalism” to generate form and weave what he calls an “audio syncretic music fabric”. The music is “organic” in the sense that the compositions and conducting exist as an inspiration and context for the musicians to express themselves by using their instruments as an amplifier for their inner voice.

2. Chicha Libre

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