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Live Reviews: Suoni per il Popolo

Lawrence Joseph, Signal to Noise, no 51, 1 septembre 2008

The eighth annual Suoni per il Popolo spanned a month and covered a huge range of musical genres. Over 50 concerts took place in two venues located across the street from each other in Montréal’s artist-filled Mile End neighborhood. It gave fans of free jazz, experimental rock, avant folk, contemporary classical, electronic, and improvised musics plenty to get excited about. Add a workshop with the Sun Ra Arkestra, street performance art, DJ sets and an outdoor day of music and children’s activities, and you have an unbeatably eclectic event. […]

The festival kicked off with two shows that exemplified what it does best. The more intimate Casa del Popolo was the venue for a free jazz blowout with saxophonist Glen Hall, bassist Dominic Duval, and drummer William Hooker, […] Hall keeps a relatively low profile, despite having studied with Ligeti and Kagel and played with the likes of Roswell Rudd, Jimmy Giuffre and John Scofield. The compositions in the first set paid tribute to some of his influences, while the second set shifted to freely improvised territory, with Montréal’s young trumpet luminary Gordon Allen sitting in to add blistering sound blasts and overblowing to the mix. At times this resembled the more noise-based music Hooker has made with Thurston Moore. […]

Allen was a fixture at the festival, playing in seven shows during the month, including guitarist Rainer Wiens’ version of Riley’s In C.

Another evening featured the debut of All Up In There, a trio of Allen, Michel F Côté on percussion, and Frank Martel on Theremin. Martel often played the theremin as if it were a stand-up bass, while Côté, when not playing kit, obtained a surprising variety of sounds from winging two mics around Pignose amps. The overall effect was more like a group of virtuosic Martians than a standard jazz trio. […]

Christof Migone’s performance piece Hit Parade took place outside on a busy Saint-Laurent Boulevard, taking over the sidewalk and one lane of traffic. Eleven people lay face down on the pavement, each pounding a microphone into the ground exactly one thousand times, at varying speeds. The sound of a giant asynchronous metronome prompted ironic thoughts in this listener about the usual meaning of the phrase “hit music,” and about pounding the pavement as a metaphor for life. […]

The Quatuor Bozzini, a string quartet dedicated to contemporary music, performed a selection of pieces by experienced improviser/composers. Malcolm Goldstein’s four-part structured improvisation A New Song of Many Faces for in These Times (2002) was by turns gentle and harsh, agitated and introspective, as melodic and rhythmic fragments were passed from one member of the quartet to another. Goldstein himself performed Hardscrabble Songs, a 13-minute solo piece for voice and violin. Jean Derome and Joane Hétu’s Le mensonge et l’identité (“Lies and Identity”) is an hour-long tour de force with a strong socio-political component. The Bozzinis’ spoken contributions (both live and on prerecorded tape) ranged from pithy quotes from philosophers and politicians to personal anecdotes. The music deliberately unraveled into chaos, the players moving music stands and chairs about the room in response to unsynchronized metronomes, tipping over stands as the scores on them were completed. […]

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