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Pierre Durr, Revue & Corrigée, no 119, 1 mars 2019
mercredi 3 avril 2019 Presse

Just So permet de plonger l’auditeur dans une musique relativement déroutante…

Review

Stuart Broomer, The WholeNote, 27 mars 2019
mardi 2 avril 2019 Presse

On Excess, distinguished Montréal-based clarinetist Lori Freedman presses the boundaries of contemporary musical discourse, challenging the clarinet’s, the individual composer’s and her own expressive depths. Pressing a point, she focuses on bass and contrabass clarinet, perhaps the most vocal of orchestral instruments, with every pitch ready to bend and break, a spray of overtones seemingly ever at the ready. Oh, yes, she challenges the listener as well.

The program is bracketed by its most radical and expansive adventures. British composer Richard Barrett’s Interference requires the performer to sing over a four-octave range and play a kick-drum as well as turn in a virtuosic explosion of wild burbling lines from the contrabass clarinet. It’s shamanic work, an invocation of spirits, a depth of expression that tests the limits of performance. At the opposite end of the CD, there’s French composer Raphaël Cendo’s Décombres, a work of “saturation” that fills the sound space with roaring contrabass clarinet and abrasive electronics.

In between, Freedman reaches back to Brian Ferneyhough’s daunting Time and Motion Study I (1977) and explores three recent pieces. Freedman worked closely with Vancouverite Paul Steenhuisen on Library on Fire and Paolo Perezzani on Thymos, the former mixing vocal sounds with bass clarinet, the latter the sonic potential of the contrabass, elephants and all. It’s her own Withwhatbecomes that’s most remarkable: almost unvoiced, it’s filled with the quietest, most fleeting, evanescent sounds, more challenging in its own way than anything else here.

On Excess, distinguished Montréal-based clarinetist Lori Freedman presses the boundaries of contemporary musical discourse, challenging the clarinet’s, the individual composer’s and her own expressive depths.

Review

Daniel Barbiero, Avant Music News, 1 avril 2019
mardi 2 avril 2019 Presse

Lori Freedman’s Excess furnishes exactly what its title promises: a program of music for bass and contrabass clarinets that pushes instrumentalism to its outer edges. Freedman, originally from Toronto but now based in Montréal, is known as an improviser as well as a composer and performer of new work; it is in this latter capacity that she appears on Excess, some of whose works were written for her. Each embodies the notion of excess in its own way, whether in the quick shifts over extremes of register and dynamics of Brian Ferneyhough’s Time and Motion Study I (1977), or in the expressive excess of Richard Barrett’s Interference (2000) for contrabass clarinet, voice and kick drum. In opening the recording with the confrontational sounds of Interference, Freedman seems to throw down a challenge to the listener to stay with the recording and hear her out. Persistence will be rewarded. Paul Steenhuisen’s 2015 composition Library of Fire, for bass clarinet, was composed for Freedman and alludes directly to her skills as an improviser: the piece was created out of transcriptions of some of her recorded improvised performances. The growls, shrieks and half-articulated, half-breathy sounds of Paolo Perezzani’s Thymos (2014), for contrabass clarinet capture the emotional immediacy and drive of the ancient Greek concept of the thumos, that human faculty thought to be responsible for prodding a person to take up a challenge and grapple with it in a spirited way. As to Freedman’s challenge to the listener, this virtuoso set shows it to be something worth meeting.

… this virtuoso set shows it to be something worth meeting.

Métal industriel disco

Geir Qviller, Deichman Musikkbloggen, 1 avril 2019
mardi 2 avril 2019 Presse

Ja, tittelen sier alt, dette er en eksotisk og spennende sjangerblanding. Det starter perkussivt, industrielt og metallisk, men et stykke ute i låta, når man minst aner det, sniker discoen seg inn i lydbildet. Og det funker! Kanadiske Tétreault spiller på platespillere og er ute med ny skive Plus de Snipettes!! på Ambiances Magnétiques.

Review

Stuart Broomer, The WholeNote, 26 mars 2019
jeudi 28 mars 2019 Presse

Composer, saxophonist and flutist Jean Derome has been a central voice in Quebec’s musique actuelle movement for decades, along the way creating works that fuse improvisation with larger structural forms. Here he leads his quartet Les Dangereux Zhoms and nine other musicians in a cross-country retrospective of works commissioned by Canada’s landmark mixed-method contemporary ensembles.

The title track, originally performed by Halifax’s Upstream in 2010, uses the idea of the Sudoku puzzle to create polyphonic canons of pentatonic scales in a way that suggests Pygmy vocal music. It’s a scintillating work, leavening its complexity with sonic transparency and some brilliant reed soloists, most notably Derome on baritone saxophone and André Leroux on tenor. 7 danses (pour «15»), originally performed by Toronto’s Hemispheres in 1989, demonstrates Derome’s longstanding interest in creating hybrid works, juxtaposing popular and serious genres that mingle Bernard Falaise’s rock-inspired electric guitar with abstract harmonies.

The concluding 5 pensées (pour le caoutchouc dur), composed for Vancouver’s Hard Rubber Orchestra in 2001, encompasses a range of moods and inspirations and highlights some of the group’s strongest voices. The playful second pensée, suggests Thelonious Monk’s work, with Lori Freedman’s bass clarinet approaching comic speech, while the third invokes Duke Ellington’s sacred music, with a pensive, reflective lead provided by trombonist Scott Thomson. The concluding Pensée matches a rapid hoedown with anarchic collective improvisation, literally an ultimate stylistic collision, and the ideal conclusion for this boundary-blurring set of works.

… literally an ultimate stylistic collision…

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