Born: August 3, 1986 Primary Instrument: Various
Remy and Pascal Le Boeuf (saxophone and piano) are part of a growing New York jazz scene characterized by odd time signatures, alternative rock, and the influences of artists such as Radiohead, Brian Blade and Kurt Rosenwinkel. What makes the 23-year-old Le Boeuf Brothers sparkle among other young jazz musicians is their uncanny ability to communicate with each other using their own secret musical language. This isn't surprising when you discover that Pascal and Remy Le Boeuf are identical twins.
In their short musical career, the Le Boeuf Brothers (pronounced “le buff”) have garnered an impressive tally of national and international awards and accomplishments, the most notable being the ASCAP/IAJE Commission honoring Quincy Jones, which premiered at the 2004 IAJE conference and featured tenor saxophonist Chris Potter. The Le Boeuf Brothers have also received awards from Downbeat Magazine, the National Foundation for Advancement in the Arts, and dominated the 2006 Independent Music Awards, winning Best Jazz Album and Best Jazz Song for their prior release “Migration”. Most recently, the track “Code Word” on their new album “House Without A Door” received 1st place in the International Songwriting Competition.
Upon graduating from the Manhattan School of Music in 2007, Remy and Pascal made the difficult decision to separate for a year. Pascal explains, “we decided it would be best for the two of us to pursue our individual interests for a year and share our knowledge with each-other upon reuniting.” This gave Remy the opportunity to develop multiple projects incorporating 20th century classical composition, while allowing Pascal a chance to travel around the U.S. and Canada, writing and collaborating with various artists for a soon to be released rock/electronica album under the alias “iPascal”.
The Le Boeuf Brothers have since reunited to record their most recent album “House Without A Door.” Described by the New York Times as an “impressively self assured new album… which reaches for the gleaming cosmopolitanism of our present era.” “It showcases their evermore-confident composing. While half of the album features a tough, young rhythm section of their musical peers, the other half finds the twins keeping company with stellar New York cats like drummer Clarence Penn, trumpeter Ambrose Akinmusire and tenor saxophonist Marcus Strickland.” (Monterey County Weekly).
Pascal describes ‘House without a Door’ as “an attempt to create the perfect balance between intellect and emotion. After spending time apart working on contemporary classical composition and rock/electronica individually, it made sense for us to combine forces on this album.” These influences shine on tracks such as Remy's “Tabula Rasa,” a thru-composed maze of colorful saxophone arpeggio's resembling Claude Debussy and Miguel Zenon, and Pascal's “Wetaskiwin,” a dreamlike hymn clearly influenced by Radiohead. “Our hope is that by connecting with our own personal emotions through music, we can connect with our audience.”
For More Information �” www.lbjazz.com
Awards:2008 International Songwriting Competition (1st Place in Jazz Category) 2008 National Foundation for Advancement in the Arts - Astral Grant 2006 Independent Music Awards for Best Jazz Song and Best Jazz Album 2004-Present Various ASCAP young COmposer Awards 2004 ASCAP/IAJE Commission in Honor of Quincy Jones
House Without A Door
Le Boeuf Brothers Music
Personnel: Pascal Le Boeuf (piano/keyboards) Remy Le Boeuf (Alto Sax) Ambrose Akinmusire (Trumpet) Marcus Strickland (Tenor/Sop Sax) Janelle Reichman (Tenor Sax) Matt Brewer (Bass) Billy Norris (Bass) Clarence Penn (Drums) Greg Ritchie (Drums)
Le Boeuf Brothers Music
Personnel: Pascal Le Boeuf (piano/keyboards) Remy Le Boeuf (Alto/Tenor Sax) Pat Carol (Alto Sax) Dominic Thiroux (Bass) Miles Perkins (Bass) Marcus Gillmore (Drums) Donald Barett (Drums)
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New York, NY
Willing to teach:
Advanced students only.
The Le Boeuf Brothers experience as an educators ranges from working for the National Foundation for Advancement in the Arts, to private lessons, to teaching on faculty at the Stanford Jazz Workshop. They frequently perform clinics and master classes at educational institutions.
Ensemble Interaction: So often in today's jazz education world students get into the habit of filling roles within the context of ensemble playing, and they often end up forgetting what possibilities are at their disposal. This workshop is geared towards opening up the creative possibilities within an improvising ensemble, both for the individual and the group as a whole. Key topics covered are: -dynamic contrast and development -density and textural development -tension and release (harmonic, rhythmic, motivic) -motivic development -juxtaposition of ideas -thinking about the song as a whole, rather than just the solo -awareness/space/listening -communication -shape/form -emotion -repetition -melodic/harmonic vocabulary Odd meters: This workshop is geared towards the improvisor interested in how to become comfortable improvising in odd meters, how to compose in odd meters, and how to super-impose one meter over another. For those just learning about odd time signatures, we would begin our workshop with an analogy to meter in poetry. Different meters often have different moods associated with them; 5/4 and 3/4, for example, have a certain bouncy quality to them, while 4/4 and 6/4 are more grounded. For the student just getting started with odd meters, it is good to break the meter down into 2's and 3's (Ex. 5/4 = 3/4 + 2/4). From doing this, one ends up with a sort of "clave." The improviser can begin by stressing accents that fit this clave. The next step would be to break the meter down further into smaller parts and create another clave (Ex. 5/4 = 3/8 + 3/8 + 2/8 + 2/8). Then one can change the order of these parts to create a new more rhythmically challenging clave (Ex. 5/4 = 3/8 + 2/8 + 2/8 + 3/8). Once this has been achieved, the next step would be to create over- the-bar-line claves that are two bars long, thus enabling irregular phrasing. After going through these processes, one becomes much more comfortable with odd times. By the end of the workshop we would ask a few volunteers to join in playing a standard in an odd time. Pascal Le Boeuf's "House Without a Door" provides an example of meter over meter application (5/4 over 7/4, and 3/4 over 5/4). This is an especially interesting topic for more advanced students. We may or may not go into this depending on the level of students at the workshop.