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Review

par Mike Chamberlain in Hour (Québec), 18 mars 2010 » 4125

La notte fa
«Côté and Dontigny piece together their aural constructions […] into strange and surprisingly accessible electro-dance delights.»

Ritmi di oggetti, the first track on La Notte fa, is an orgy of stripped-down, fuzz-toned rhythm; the second track, Unlisted Card Number, is all textural dub ambient percussion; and the third piece, Paxil Origami Club, sounds like broken-down and refracted disco, with the flashing lights but minus the cheese. And that’s just the first third of the album. Côté and Dontigny piece together their aural constructions from fragments of pop culture with tapes and electronics, cutting up and reassembling samples from sources as diverse as Maurice Ravel, Don Cherry and Ol’ Dirty Bastard into strange and surprisingly accessible electro-dance delights.


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Critique

par Laure Henri-Garand in Le Délit français (Québec), 16 mars 2010 » 4121


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Review

par Dolf Mulder in Vital #722 (Pays-Bas), 15 mars 2010 » 4119

Miroir des vents
«The richness of the work is revealed if you listen very carefully and discover the diversity in sounds and textures.»

Quasar is a saxophone quartet. Marie-Chantal Leclair, Mathieu Leclair, Andre Leroux and Jean-Marc Bouchard, are the players. They play works from six canadian composers of whom only Claude Vivier who died in 1983 is known to me. No wonder Pulau Dewata (1974) by Vivier is the oldest composition played by this quartet. The CD opens with Miroir des vents by Luc Marcel, thoroughly composed piece. Geyser Ghetto from Michel Frigon is an evocation of the powers of nature as met in the phenomenon of geysers. No wonder a very dynamic piece. One feels the pressures that geysers cause. Iskra by Wolf Edwards is a wild and anarchistic piece. Here the quartet comes most close to the phrasing, etc. that we know from improvisation and free jazz. Especially in the power play by one of players in the beginning of the piece. With Giuco Piano by Frangis Nurulla-Khoja we come in calmer realms. And Pulau Dewata by Vivier is the most friendly sounding piece. Often it is close to minimal music. No wonder as it is inspired on Balinese music. Concerning the closing piece by Jean-Franois Laporte, the title says it all: Le chant de l’inaudible. Through long extended notes, the music moves very slowly staying very close to silence. The richness of the work is revealed if you listen very carefully and discover the diversity in sounds and textures.


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Review

par Dolf Mulder in Vital #722 (Pays-Bas), 15 mars 2010 » 4118

Infininiment
«It is very rewarding and enjoyable to listen to all short movements and actions by the different players, and to experience how they intertwine into a strong nucleus of linear moving music.»

I’m always especially curious after new releases by Michel F Côté. He is a very interesting musician who deserves a much broader attention if you ask me. For instance for his fantastic Klaxon Gueule. This is Michel F Côté (drums, percussion), Bernard Falaise (guitar) and Alexandre St-Onge (bass). They started in 1995, and with Infininiment they are ready for their fifth statement after a silence of 5-year silence. Helped out by Gordon Allen, Jean Derome and Philippe Lauzier. It is not necessary to introduce the three core members as they are very profiled artists, all of them involved in numerous other musical projects. Klaxon Gueule combines these extraordinary talents who are very equipped to interpret Côté’s bizarre musical visions. In a very abstract manner his music stays linked with rock, and more explicit it shows relations with improvised music. It is very rewarding and enjoyable to listen to all short movements and actions by the different players, and to experience how they intertwine into a strong nucleus of linear moving music.


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Review

par Dolf Mulder in Vital #722 (Pays-Bas), 15 mars 2010 » 4117

Shaman
«Emotional and intense improvisations.»

Nous perçons les oreilles is Jean Derome and Joane Hetu. They present their next step under this name after a silence of about eight years. Shaman is their third work. We hear Hetu on sax and voice. Derome also on sax and voice plus flute and objects. Emotional and intense improvisations. With the title Shaman they want to hint at their conviction that their work is “closer to the world of healing, supernatural communication, and ancestral memory than the world of entertainment.”


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Review

par Dolf Mulder in Vital #722 (Pays-Bas), 15 mars 2010 » 4116

Bridge
«Lori Freedman returns with a beautifully recorded solo album»

Lori Freedman returns with a beautifully recorded solo album called Bridge. All nuances and colors of her playing can be noticed and fully enjoyed on this crystal clear recording. Freedman leads us through ten works that have her playing bass clarinet, accompanied by Brigitte Poulin (piano) on Flicker (Michel Galante). Some of them are improvisations. Others are compositions by well-known (Scelsi) and not so well-known composers like Monique Jean, Pascal Dusapin, Franco Donatoni, etc. Improvising and playing composed music are equally important for Freedman at this stage of her career and that’s why we find examples of both of them on this record. The contrasts I experienced do not exist between the improvised pieces on the one hand, and the composed ones on the other. Freedman choose very different works to interpret, offering a diverse richness and many contrasts. For instance, Clair (1980) by Donatelli plays intelligently with jazz idiom and is a pleasantly light and positive work. Scelsi’s Maknongen (1976) remains in dark and low sections that are interrupted by almost screaming outbursts. Improvisation and composition are combined in Brief Candles a work composed by Freedman. The closing piece Low Memory 3 by Monique Jean is the only electroacoustic work. The clarinet is surrounded here with sounds that range from ambient-like to very noisy eruptions.


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Review

par Benjamin Boles in NOW #29:28 (Canada), 10 mars 2010 » 4106

Ugly Beauties
«Happily, those experimental tendencies are offset by strong compositions and melodies, so they never descend into the tuneless racket some associate with improvised music.»

Pianist Marilyn Lerner is the best-known member of this trio, but drummer Nick Fraser and cellist Matt Brubeck also have substantial, impressive resumés that span a wide range of styles. Lerner has made a career of jumping nimbly between klezmer, jazz, improv and modern classical music, all while balancing a flair for experimentation with a love of melody, which should give you some idea of where Ugly Beauties fall on the musical spectrum. There’s a mixture of group improvisations and individual compositions by all three members. Although Lerner makes the greatest contribution, the album is more about the interplay between the musicians and their effortless improvising. They’re all creative players, and at moments they whip up such a storm of strange textures and tones that you forget you’re listening to just three acoustic instruments. Happily, those experimental tendencies are offset by strong compositions and melodies, so they never descend into the tuneless racket some associate with improvised music.


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XFest 2010: Real Time Together. 26, 27, 28 February. 119 Gallery, Lowell, MA, USA.

par Gordon Marshall in All About Jazz (ÉU), 2 mars 2010 » 4091

Gordon Allen
«The piece had an air of stillness, almost of timelessness, except that that very force of will giving it that feel ultimately pushed it toward an even more satisfying resolution.»

The first guest, trumpeter Gordon Allen of Montreal, Quebec, set the tone blowing creatively in a restricted register, as part of an offbeat quartet featuring Mitch Ahern on a homemade instrument — a 1950s era washing-machine door attached to a quasi-fret board with electronic controls attached to it. Ahern colored in an understated background for Allen. Josh Baker played a bicycle wheel, with various sticks. Claire Elizabeth Barratt achieved unique equipoise between executing ballet steps and wielding a cello. Both reinterpreted Allen’s steady, airy lyricism with alternating outbreaks of percussion and sonority. The piece had an air of stillness, almost of timelessness, except that that very force of will giving it that feel ultimately pushed it toward an even more satisfying resolution. (…)


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Review

par Seth Watter in Signal to Noise #57 (ÉU), 1 mars 2010 » 4124


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Review

par Marc Medwin in Signal to Noise #57 (ÉU), 1 mars 2010 » 4112


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Review

par Marc Medwin in Signal to Noise #57 (ÉU), 1 mars 2010 » 4110


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Guelph Jazz Festival, September 9-13, 2009.

par Ken Waxman in Musicworks (Canada), 1 mars 2010 » 4101


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Recensione

par Stefano I Bianchi in Blow Up #142 (Italie), 1 mars 2010 » 4097


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Review

par Stuart Broomer in Musicworks #106 (Canada), 1 mars 2010 » 4095


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Review

par Stuart Broomer in Musicworks #106 (Canada), 1 mars 2010 » 4094


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