Nguyen Le - Tales from Vietnam

Description for Nguyen Le Tales from Vietnam

Nguyen Le - Tales from Vietnam
1CD | EAC Rip | Flac (Tracks) - No Cue - No Log | Cover | 308 MB
Label: ACT Nr. ACT 9225-2| Release: 1996 | RAR | RS.com
Genre: Jazz/Crossover
"For a long time, I had dreamt of a band mixing jazz musicians with Vietnamese traditional musicians, playing a music inspired by the songs my mother used to sing to me. Born in Paris from Vietnamese parents, I lost the Vietnames language when I began school. Only in Sept. 94 did I feel confident and experienced enough to begin "Tales of Viêt- Nam". It is a journey back into my childhood, a return to lost roots. But it also means the creation of an imaginary folklore that stems from a crossroads of contemporary influences".

Nguyên Lê


An increasing number of musicians consider Paris – which has enjoyed a reputation as a haven for artists for centuries and has become progressively cosmopolitan as waves of Asian, African, Middle Eastern, Caribbean and Eastern European immigrants continue to settle there – the most stimulating city in which to live, work and play today.

Guitarist Nguyên Lê, born Paris in 1959 to Vietnamese parents who came there from Hanoi to attend college, embodies the exotic multi-cultural mosaic fueling the vibrant jazz and world music scenes flourishing in the French capital. A self-taught musician who started playing drums at 15 before switching to guitar and electric bass, Lê has developed a distinctive sound that draws upon rock, funk and jazz as well as traditional Algerian, Indian and Vietnamese styles. The five albums he has released as a leader on the German label ACT since 1995 include Tales From Vietnam on which he explores and celebrates his roots, the North African flavored Maghreb & Friends and Bakida on which he augments his preferred format, the trio of guitar, bass and drums, with guest soloists Chris Potter, Paolo Fresu, Kudsi Erguner and Jan Balke.

“I was always more interested in making my own music than copying songs I heard on the radio or records and began improvising from the start,” Lê explained while drinking tea in the living room of his apartment in the Barbes district of Paris, the preferred quarter of the city’s Tunisian, Algerian and Moroccan residents. “The first group that really moved me was Deep Purple,” he continued, “and after hard rock I got into progressive bands like King Crimson and Genesis and eventually the fusion of Return to Forever and the Mahavishnu Orchestra. Then I found jazz and entered my ‘Real Book’ period during which I learned a lot of standards, discovered Wes Montgomery and began playing a big hollow-bodied Gibson 175.” He cites Jimi Hendrix, Django Reinhardt and early Steve Vai as other important inspirations.

A sonic sorcerer in the same league as Pat Metheny, John Scofield, Bill Frisell and John Abercrombie, Lê plays a custom guitar made by James Trussard and is a wizard with state-of-the-art synthesizer and computer technologies. He began composing on a Macintosh five years ago and has set up an impressive home studio/office containing the drives, monitors and peripherals he uses to record and mix select projects like his 1999 CD Moon And Wind with the Vietnamese vocalist Huong Thanh.

Lê’s world music adventures began after he met Mario Canonge, a pianist from Martinique, and they formed a band that initially played tunes by Wayne Shorter among others. “Mario introduced me to the beguine and salsa and I was fascinated by the rhythms of these and other Latin styles,” Lê recalled. “I thought we should be playing our own music and in 1983 we started Ultramarine, one of two bands in Paris playing ethno-jazz at the time.”

Drummer Peter Erskine and pianist Art Lande, who appear on Miracles, Lê’s 1990 recording debut as a leader, met the guitarist in the late 1980s and are two of his most avid fans and enthusiastic collaborators. The trio Erskine formed with Lê and bassist Michel Benita released the CD E-L-B in May 2001 and the drummer praises “Nguyen’s sound and his unique sensibilities and experiences as a player that enable him to create the type of effortless form of world music we talked about during the Weather Report days.”

Lê returned to the U.S. for the first time since 1997 to perform in a quintet featuring Lande and Paul McCandless in February 2002. Lande calls Lê “an important if not central figure in modern world music. He has a wider range of expression than most people and can play with heat or be poignant and plaintive. The synthesizer universes Nguyen creates are unique and he can access them immediately. He hears something and makes it happen right on the spot and always chooses the perfect situation in a piece in which to engage them.”

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