Des pas sous la neige Joël Grare

• Joël Grare ( b.1961):
• 1Des pas sous la neige (À ma mère)03:37
• 2Transhumance et transcendance (À Didier Galas)04:01
• 3Battements d'ailes dans le brouillard (À Pierre Favre)03:56
• 4Les rythmes fantômes (À Jacques Debs)02:58
• 5Campanula alpestris (À Armand Amar)02:26
• 6La noce feras-tu ? (À Jean-François Zygel)03:15
• 7La buée (À Christian Vander)02:51
• Béla Bartók (1881 - 1945):
• 8Abel Torbak 1 / Brâul (À Claude Walter)01:33
• 9Abel Torbak 2 / Pe Loc (À Matthieu Delpy)01:41
• 10Abel torbak 3 / Buciumeana (À Yoann Moulin)02:10
• Joël Grare:
• 11Cloches Vespérales (À Emmanuel Guibert)02:49
• 12Le cou des vaches (À mon frère Alain)03:25
• 13Les Grandes Jorasses Face Nord (À Yvan Cassar)03:39
• 14La cascade des perles de rosée (À Dieter Hermann)04:25
• 15Debussy ou la tour des cloches (À Maël Guezel)05:14
• 16Sonnerie de plein champ pour faire venir la neige (À Alban Sautour)03:11
• 17Les flocons invitent la montagne à danser (À Axel Lecourt)03:22
• 18Sous la neige (À Anne Rousseau)04:03
• Total Runtime58:36

Info for Des pas sous la neige

Joël Grare, percussionist and tireless seeker after offbeat sounds and instruments, here presents his third album for Alpha: ‘Footprints beneath the snow: first sounds of innocence, cowbells and jingle-bells, sounds swallowed up by the mountain’... Through his compositions and inspirational influences (Debussy, Bartók) he follows a dizzying emotional Alpine path, along with his amazing instruments: drums, balafon, melodica, sanza, cowbells of all sizes, Japanese drums, trompiki, rainstick, thunder sheet – and his famous ‘clavicloche’: One early afternoon in January 1986 I visited the Devouassoud workshop in Chamonix, manufacturer of the jingle bells and tongued cowbells that adorn the animals’ necks, filling the mountainside with their chimes... I added these new treasures to my percussion set, not realizing that these newbies arranged among my cymbals would eventually become an instrument in their own right... Totally unlike church bells, whose pitches are pre-calculated when casting them, the pitch of cowbells is only approximate. The low-pitched bells are called “dull”, and the high-pitched ones “bright” – you need only a few cowbell notes to identify a particular herd. When trying to assemble a full tuned set, you might test several hundred cowbells and pick out just a few... To collect a chromatic set of three-and-a-half octaves took me a good twenty years!’

Joël Grare, percussion
Matthieu Desbordes, drums
Yula Slipovitch, vocals
Anne Isambert, vocals
Simon Buffaud, double bass
Alice Julien-Laferriere, violin

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