Lisanne Tremblay's Ecdyses at Korzo

Lisanne Tremblay's latest project Ecdyses explores the ongoing processes of self-transformation through a journey that travels organically from various world music inspirations to free collective improvisations. Her new ensemble attempts to push the boundaries of instrumental roles and express shared human experiences such as vulnerability and strength. The New York-based violinist and composer has shared the stage with outstanding artists such as Greg Osby, Liberty Ellman, Stephan Crump, Gerald Cleaver, Rez Abbasi, John Hébert, E.J. Strickland, Carlo De Rosa, Devin Gray, Rick Rosato, Scott Colberg, and Vinnie Sperrazza. Her distinctive approach captured the attention of many through her debut album Violinization, which was released in 2015 on Greg Osby’s Inner Circle Music label. “A gifted improviser with a highly unconventional yet utterly arresting melodic gift, Lisanne puts the full expressive powers of the violin on display and makes a compelling case for the instrument's broader inclusion in modern jazz.” Seton Hawkins, Hot House Jazz Magazine...

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Lisanne Tremblay's latest project Ecdyses explores the ongoing processes of self-transformation through a journey that travels organically from various world music inspirations to free collective improvisations. Her new ensemble attempts to push the boundaries of instrumental roles and express shared human experiences such as vulnerability and strength. The New York-based violinist and composer has shared the stage with outstanding artists such as Greg Osby, Liberty Ellman, Stephan Crump, Gerald Cleaver, Rez Abbasi, John Hébert, E.J. Strickland, Carlo De Rosa, Devin Gray, Rick Rosato, Scott Colberg, and Vinnie Sperrazza. Her distinctive approach captured the attention of many through her debut album Violinization, which was released in 2015 on Greg Osby’s Inner Circle Music label. “A gifted improviser with a highly unconventional yet utterly arresting melodic gift, Lisanne puts the full expressive powers of the violin on display and makes a compelling case for the instrument's broader inclusion in modern jazz.” Seton Hawkins, Hot House Jazz Magazine

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