actuellecd

Plat

Fenaison / Rémy Bélanger de Beauport, Charity Chan, Kris Covlin

L’attenzione richiesta dall’ascolto dei mille cripto-movimenti è ben ripagata dall’intelligenza del procedere, possibile e plausibile dialogo tra mondi riconciliati. Blow Up, Italy

This is an extraordinary trio: exciting, intense, focused and at times scary. Downtown Music Gallery, USA

Fenaison is a group committed to the making of new music that is texturally driven, improvised, exploratory, and boundary crossing. Performing with intuition, ingenuity, and integrity, Fenaison pushes the limits of the anticipated and the accepted with their dynamic and intensely unique performances.

Members of the ensemble come from such diverse backgrounds as classical composition, noise music, contemporary performance, improvisation, electronic music and jazz. This ensemble has been heralded as both exciting and innovative.

”Listening to Fenaison reminds me why I enjoy improvisation. They make music that is passionate, mysterious, and full of contradictions — careful and abandoned, melodic and noisy, peaceful and edgy, logical and surprising — music that doesn’t make sense. In other words, it’s alive! And well…” (Fred Frith)

CD (AM 169)

  • Label: Ambiances Magnétiques
  • AM 169
  • 2007
  • UCC 771028116928
  • Total duration: 51:37
  • Sympathique case
  • 126 mm × 126 mm × 5 mm
  • 50 g

On the web

Download (AM 169_NUM)

Notices

À propos de Plat

Fenaison was formed through sheer happenstance and a mutual love for great music. Dedicated to the performance of contemporary improvised music, Fenaison is committed to exploring the spontaneous and dynamic possibilities that are a result of a high level of organic group communication and shared (yet also very different) aesthetic sympathies. Because each musician brings a very diverse set of musical influences to the ensemble — including composition, classical, avant-garde, jazz, punk, and noise musics — seemingly disparate elements are fused together, creating a balance of tensions between individual statements and collective presentation that is truly unique, distinctive, and new. Sudden shifts in texture, vigorous bursts of sound, subtle nuances in timbre, and the sweetly beguiling play with (seeming?) silence typify the music presented here on plat. The mercurial vitality of Fenaison seduces and envelopes the listener in a collaborative experience that excites, inspires, and leaves one at once satisfied yet wishing for more.

Some recommended items
In the press

Critique

Félix-Antoine Hamel, La Scena Musicale, February 1, 2008

Chaque nouvelle manne de disques en provenance de nos camarades de chez DAME offre sa dose de surprises. Examinons cinq nouveautés de la saison courante en provenance de cette entreprise vouée à la distribution de ces musiques inclassables. Preuve à l’appui, le second disque du violoniste-compositeur Guido Del Fabbro.

Agrégats (AM 167 CD, ★★★) est une collection éclectique de treize miniatures — une seule pièce dépasse les six minutes — puisant aux sources du folklore européen (Le Curare et la ciguë), du rock (Las stable es stable), de la musique improvisée, électronique (Interlude résiduel) et même des marches! Dix musiciens regroupés en formations à géométrie variable composent la distribution de ce cocktail réjouissant.

Si Bach et Debussy ont souvent fait l’objet de relectures par des musiciens de jazz, on ne pourrait en dire autant de Prokofiev, dont le contre-bassiste Pierre-Yves Martel a réarrangé 18 des 20 Visions fugitives, Op. 22. Projet ambitieux, Quartetski does Prokofiev (AM 171 CD, ★★★★) est cependant mené à bien par quatre des meilleurs jeunes musiciens de chez nous, lesquels sont, outre le bassiste, Gordon Allen à la trompette, Philippe Lauzier aux anches et Isaiah Ceccarelli à la batterie.

Le batteur Michel F Côté, avec (juste) Claudette (AM 168 CD, ★★★) présente un quartette à mi-chemin entre les délires bruitistes de Sun Ra et les grooves à la Medeski, Martin and Wood. Solide contrebasse d’Alexandre St-Onge, sons irréels d’orgue (gracieuseté de Jesse Levine) et envolées de guitare de Bernard Falaise sont les ingrédients essentiels de ce mélange détonnant.

De la musique du trio Fenaison (Rémy Bélanger de Beauport, violoncelle et électroniques, Charity Chan, piano «revisité» et Kris Covlin, saxophones), Fred Frith dit que c’est «une musique qui n’a pas de sens… elle vit!». Sur Plat (AM 169 CD, ★★★), les trois musiciens nous proposent une série de sept improvisations abstraites. À vous de trouver le sens… ou la vie!

Dernier disque, mais non le moindre, le plus récent enregistrement de Jean Derome et les Dangereux Zhoms, To Continue (AM 172 CD, ★★★★), est une suite de six compositions assez élaborées du saxophoniste qui, par sa mise en musique d’un texte du sculpteur Richard Serra et de La Grenouille et le bœuf de La Fontaine, nous rappelle la démarche de l’un de ses maîtres, Steve Lacy.

Altrisuoni

Stefano Isidoro Bianchi, Blow Up, no. 116, January 1, 2008

I FenaisonRémy Bélanger de Beauport, Charity Chan e Kris Covlin — indagano il luogo in cui l’improv si sfliaccia fino al punto da diventare composizione contemporanea. Violoncello, flauto, pianoforte, sax, elettronica e oggetti amplificati, concorrono alla creazione di un flusso di suoni dai rimandi estremamente diversificati (cameristica, jazz, ombre di noise e persino di dixieland) eppure uniti nelle dinamiche usate — sospettose e dilatate, a tratti quasi silenti — e nei timbri degli strumenti, riottosi a incapsularsi in uno stile, a riprova della derivazione dei tre musicisti, provenienti da aree diverse e distanti. L’attenzione richiesta dall’ascolto dei mille cripto-movimenti è ben ripagata dall’intelligenza del procedere, possibile e plausibile dialogo tra mondi riconciliati. (7,5/10)

Limitrofa come disciplina ma del tutto diversa nei risultati i’impostazione data all’ensemble di dieci elementi a cui il violinista e violonista Del Fabbro affida la realizzazione dei tredici episodi di Agrégats. Molti strumenti acustici (fisarmonica, flauto, violoncello, clarinetti, trombone, contrabbasso, percussioni) e un tocco appena di elettronica per una musica che parte dal folk (si direbbe più mitteleuropeo che francofono o anglosassone) e si dipana in una dimensione orchestrale robusta e “importante” con svisate cha sanno di trascorsi avant-rock. (6,5/10)

L’attenzione richiesta dall’ascolto dei mille cripto-movimenti è ben ripagata dall’intelligenza del procedere, possibile e plausibile dialogo tra mondi riconciliati.

Review

Bruce Lee Gallanter, Downtown Music Gallery, December 14, 2007

Fenaison is a group committed to the making of new music that is texturally driven, improvised, exploratory, and boundary crossing. Performing with intuition, ingenuity, and integrity, Fenaison pushes the limits of the anticipated and the accepted with their dynamic and intensely unique performances. Members of the ensemble come from such diverse backgrounds as classical composition, noise music, contemporary performance, improvisation, electronic music and jazz. This ensemble has been heralded as both exciting and innovative.

Fenaison feature Charity Chan on extended piano, Rémy Belanger de Beauport on amplified cello, flute & electronics and Chris Covlin on saxes. I met Ms. Chan when she played at the Ambiances Magnétiques fest at The Stone earlier this year (2007) and was most impressed with her playing. She studied with Fred Frith at Mills College and this is the first disc she is involved with on the Quebec-based AM label. This is an extraordinary trio: exciting, intense, focused and at times scary. Each sound is perfectly balanced within their dream-like haze of constant surprises. Some of this is noisy, but all of it is quite fascinating.

This is an extraordinary trio: exciting, intense, focused and at times scary.
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