I was very excited to hear that Montreal's Valérie Lacombe had released a new album of her original music and I'm also really looking forward to seeing her perform in Calgary, AB with her band later this month. Being an aspiring drummer/composer myself (and also a fellow McGill grad!) I was a particularly interested in Valérie's approach to writing music and leading a band. As you'll read below, she has put a lot of thought and hard work into this project. Check it out.
Valérie Lacombe - Stage of Garden and Shadow
1) Tell us about your latest recording!
State of Garden and Shadow is an album of seven original compositions and one piece by Benny Golson. I wrote it during my master’s degree at McGill University while studying with Kevin Dean and Darrell Green. Writing a full album in such a short period of time was a first for me, and the process really introduced me to myself as a composer; the sounds I naturally gravitate toward, the emotional spaces I return to, and the kinds of stories I want to tell through music. The title was inspired by Água Viva by Clarice Lispector, a chaotic and deeply introspective stream-of-consciousness novel that explores identity, loneliness, beauty, and transformation. The book moves between light and darkness, tenderness and ugliness, and throughout it there’s a profound respect for art as both a refuge and a way of making sense of being alive. I connected deeply with that emotional landscape while writing this music, and the phrase “state of garden and shadow” eventually imposed itself on the project. In the novel, Lispector uses the phrase to describe a fragile state of freedom and creativity, a moment of feeling intensely alive, while also confronting the unknown and more unsettling parts of oneself.
2) How did you choose your repertoire and sidemen?
I knew from the beginning that I wanted the album to be made up mostly of original music. I really fell in love with the compositional process, and because all of these pieces were written within the span of a few months, they naturally felt connected to one another, like they belonged to the same emotional and sonic world. I was especially interested in writing for a chord-less quartet and experimenting with ways harmony could still be deeply felt without a chordal instrument, through arrangement, counterpoint, and the blending of two horns. The writing process itself felt surprisingly intuitive, almost passive at first. Kevin Dean encouraged me to sit quietly, listen to what I heard in my head, and record melodic ideas as voice memos. Later, I would transcribe the ideas I connected with most and shape them further by adding bass movement, harmony, and form. Choosing the musicians was very natural. I knew I wanted to work with Caoilainn Power because we’ve been collaborating for years, and I deeply love her sound, creativity, and musical sensitivity. Camille Thurman and Ira Coleman are two artists I admire immensely and had the chance to meet through my studies at McGill University. I took a chance and asked if they would be interested in being part of the project, and I was so grateful when they both said yes. The recording process felt incredibly easy and collaborative because everyone immediately understood the aesthetic and spirit of the music. We also had Darrell Green producing the record, and his guidance made the whole experience feel supportive, focused, and genuinely fun.
3) What inspired you to pursue the vibe and instrumentation that you did?
The seed for this project was actually planted in 2017 after seeing a concert at Dièse Onze in Montreal. It was a project led by Kirk MacDonald featuring Pat LaBarbera, Kieran Overs, and Adam Nussbaum. The group was chord-less, and I remember being completely struck by the world they created together. It felt open, alive, and incredibly expressive, and I remember thinking, “If I ever have my own band, this is the kind of sound I want to explore.”
A lot of the album’s aesthetic also came from what I was listening to at the time (in 2024), especially late-60s and early-70s records by Elvin Jones like Puttin' It Together, The Ultimate, Poly-Currents, and Genesis. That sound was living in my ears and imagination while I was writing: the intensity, the drama, and especially the way those groups could imply harmony and atmosphere without relying on chordal instruments. There are also some very direct compositional inspirations throughout the album. For example, my tune “Who’s Afraid of Clarice Hana?” was heavily inspired by Frank Foster’s composition “Who’s Afraid…” from Merry-Go-Round. In the same way, my composition “Persona” draws a lot from Dave Liebman’s tune “Small One” from Live at the Lighthouse. Liebman’s writing, especially pieces like “New Breed” also taught me a lot about how to harmonize for two horns. I really connect with his aesthetic.
1) Tell us about your latest recording!
State of Garden and Shadow is an album of seven original compositions and one piece by Benny Golson. I wrote it during my master’s degree at McGill University while studying with Kevin Dean and Darrell Green. Writing a full album in such a short period of time was a first for me, and the process really introduced me to myself as a composer; the sounds I naturally gravitate toward, the emotional spaces I return to, and the kinds of stories I want to tell through music. The title was inspired by Água Viva by Clarice Lispector, a chaotic and deeply introspective stream-of-consciousness novel that explores identity, loneliness, beauty, and transformation. The book moves between light and darkness, tenderness and ugliness, and throughout it there’s a profound respect for art as both a refuge and a way of making sense of being alive. I connected deeply with that emotional landscape while writing this music, and the phrase “state of garden and shadow” eventually imposed itself on the project. In the novel, Lispector uses the phrase to describe a fragile state of freedom and creativity, a moment of feeling intensely alive, while also confronting the unknown and more unsettling parts of oneself.
2) How did you choose your repertoire and sidemen?
I knew from the beginning that I wanted the album to be made up mostly of original music. I really fell in love with the compositional process, and because all of these pieces were written within the span of a few months, they naturally felt connected to one another, like they belonged to the same emotional and sonic world. I was especially interested in writing for a chord-less quartet and experimenting with ways harmony could still be deeply felt without a chordal instrument, through arrangement, counterpoint, and the blending of two horns. The writing process itself felt surprisingly intuitive, almost passive at first. Kevin Dean encouraged me to sit quietly, listen to what I heard in my head, and record melodic ideas as voice memos. Later, I would transcribe the ideas I connected with most and shape them further by adding bass movement, harmony, and form. Choosing the musicians was very natural. I knew I wanted to work with Caoilainn Power because we’ve been collaborating for years, and I deeply love her sound, creativity, and musical sensitivity. Camille Thurman and Ira Coleman are two artists I admire immensely and had the chance to meet through my studies at McGill University. I took a chance and asked if they would be interested in being part of the project, and I was so grateful when they both said yes. The recording process felt incredibly easy and collaborative because everyone immediately understood the aesthetic and spirit of the music. We also had Darrell Green producing the record, and his guidance made the whole experience feel supportive, focused, and genuinely fun.
3) What inspired you to pursue the vibe and instrumentation that you did?
The seed for this project was actually planted in 2017 after seeing a concert at Dièse Onze in Montreal. It was a project led by Kirk MacDonald featuring Pat LaBarbera, Kieran Overs, and Adam Nussbaum. The group was chord-less, and I remember being completely struck by the world they created together. It felt open, alive, and incredibly expressive, and I remember thinking, “If I ever have my own band, this is the kind of sound I want to explore.”
A lot of the album’s aesthetic also came from what I was listening to at the time (in 2024), especially late-60s and early-70s records by Elvin Jones like Puttin' It Together, The Ultimate, Poly-Currents, and Genesis. That sound was living in my ears and imagination while I was writing: the intensity, the drama, and especially the way those groups could imply harmony and atmosphere without relying on chordal instruments. There are also some very direct compositional inspirations throughout the album. For example, my tune “Who’s Afraid of Clarice Hana?” was heavily inspired by Frank Foster’s composition “Who’s Afraid…” from Merry-Go-Round. In the same way, my composition “Persona” draws a lot from Dave Liebman’s tune “Small One” from Live at the Lighthouse. Liebman’s writing, especially pieces like “New Breed” also taught me a lot about how to harmonize for two horns. I really connect with his aesthetic.
I think the main thing I wanted to convey is a sense of wonder toward art and being alive. This album comes from a place of really believing in the emotional and almost magical power of creating something and sharing it with other people.
5) Who are your influences with regards to your style of playing?
Elvin Jones and Jeff "Tain" Watts have both been huge influences on me because of the way they make the drum set feel alive, organic, and constantly in motion. Jimmy Cobb taught me so much about forward momentum and the power of the ride cymbal, while Kenny Washington inspires me through his total commitment and dedication to the music.
I’m also deeply influenced by Max Roach for his creativity and the language he developed on the instrument, Frankie Dunlop for his personality and swing, Joe Farnsworth for the heart and forcefulness of his playing, and Clifford Jarvis for his masterful comping.
Darrell Green has influenced me through his beautiful sound and his commitment to creativity in music, while André White stands out for his ability to always make the most supportive musical choice and never play anything out of place. I could honestly go on and on, it’s rare that I hear a drummer play and don’t come away influenced in some way.
6) What are you practicing/studying/listening to/researching these days?
Practicing: Wilcoxon (KWash method, if you know you know!)
Studying: the art of playing open drum solos. Trying to develop a more natural sense of form, pacing, and storytelling when there’s no fixed structure to lean on.
Listening: Miles Davis’ Walkin’, ‘Round About Midnight and Cannonball’s Somethin’ Else
Researching/Reading: Miles’ Autobiography
7) What other current and future projects do you have on the go at the moment?
This summer, I’ll be playing with The Ostara Project, and we’ll be doing a run of performances on the Canadian jazz festival circuit. I’m also hoping to continue touring my own project, State of Garden and Shadow, and would love to bring the music to more places, especially in Eastern Canada and the Maritimes.
8) How does the drums and your overall approach to rhythm factor into your album concept?
The drum parts weren’t something I designed separately from the compositions; they're part of the way I hear the music from the start. For me, rhythm isn’t an added layer, it’s embedded in the melodic and harmonic ideas themselves. So the rhythmic identity of each piece is already implied in the writing, even before anything is played.
9) What drummers (or other musicians/composers) do you consider as influences?
Andre White, Cedar Walton, Dave Liebman, Joe Henderson and Nicole Glover
10) What advice do you have for younger, aspiring jazz musicians and jazz drummers?
Be honest with yourself and do the work.
Learn more about Valérie on her website www.valerielacombe.com and Bandcamp page www.valerielacombe.bandcamp.com/album/state-of-garden-and-shadow
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