In stark contrast, Tricotage is stylistically settled and explores in detail a single area of the improvising spectrum. A consummate piece of improvisation, Léandre and percussionist Roger show a level of awareness of each other that is enviable, interacting as they do in almost effortless dialogue. Each of the nine splendidly crafted pieces has a distinct identity but is connected by a unity of purpose and approach. The music is delicate, sometimes brittle but never flimsy, contrasting a range of restrained almost understated sounds with more positive gestures. Léandre’s arco playing can often be poignant, even heart-rending but she is equally capable of producing a smile on her listener’s face with playful and even throwaway gestures.

Two musicians living in Nova Scotia collaborate and release their first CD together on Dérapages à cordes. Both Arthur Bull and Daniel Heïkalo are accomplished improvisers and guitarists, and they have each worked in diverse musical environments. This disc is a recording of a free improvisation, without any editing or overdubs, in eight movements/tracks. Bull takes on the semi-acoustic, slide, ebow and prepared guitars, while Heïkalo handles acoustic, classical and prepared guitars as well as cittern, percussion and bizarre vocalisations (gibberish chanting) in one of the tracks. Their collaboration is a strange blend of styles, moods, and suggestions. Hints of classical motifs blend with blues-grass suggestions and the more dominant abstract textures both harsh and subtle. The pieces are teeming with activity and creative energy, a stream of energy which it seems could never be spent, and it’s a relative joy listening to these inspired performances. A number of surprising moments and a wealth of details keep me on my toes throughout playback; bursts of percussion, scrapings, and harsh strikes on the guitars are effectively juxtaposed with approximations of melody and traditional playing. There’s never a dull moment here, though I’ll admit that on occasion it may be difficult to discern any method to the madness. This will definitely appeal to fans of the more esoteric and challenging releases on the Ambiances Magnétiques label.

Derome is a creative and experimental theater performer. Taken right from her work in self-styled théâtre perforé (perforated theater) and théâtre en forme de femme (theater with a woman’s shape), we get on this disc the audio dimension of her communication with the theater audience. Somewhat like the avant-garde art music of the Residents and a bit like musically ornamented dialogue or poetry readings, Les quatre ronds sont allumé is sonic cabaret, stage work launched onto CD with the guitar theatrics of René Lussier. (3)

Genevieve Letarte is a singer that is a poet and novelist as well. Her developed ability to communicate and express emotions comes across on this warm and personal disc. Sparse, almost Western, accompaniment by electric guitar and drums joins Letarte in delivering her original songs that strike the listener as familiar and nostalgic.

Unexpected and quirky songwriting make up the singular assembly of tracks on this compendium. The French-Canadian art-pop gems here are strange and wonderful approaches to songwriting by artists largely of the Montréal electro-acoustic scene known for tape collages and musique actuelle. Here they produce experimental Arcadian folk songs, bizarre transmogrifications of French pop and more. Among the artists present are Pierre Tanguay, René Lussier, André Duchesne and more. (4. 5)

Association magique que celle de Louis Sclavis, Bruno Chevillon, Jean Derome et Pierre Tanguay

Quatre as. Quatre magiciens. Quatre maîtres-instrumentistes. Leur rencontre ne pouvait qu’être magistrale. En associant les Français Louis Sclavis (clarinette, clarinette basse, saxophone soprano) et Bruno Chevillon (contre-basse) aux Québécois Jean Derome (saxophones, appeaux, voix) et Pierre Tanguay (batterie), le FIMAV a réussi tout un coup de génie, hier!

Cette formation à géométrie parfaite à livré en première mondiale une performance ahurissante où virtuosité et originalité ont tout simplement sidéré l’assistance du Cinéma Laurier.

Née dans le sillage du passage de Sclavis au festival en 2000, cette rencontre a dépassé toutes les espérances. D’abord, en raison de cette musique mi-notée mi-improvisée particulièrement inventive, évoquant une faune sonore dense et mystérieuse, que le quatuor a créée au cours des derniers jours, mais aussi à cause de performances en solos et en duos d’une fougue inattendue.

Bien sûr, la réputation des quatre collaborateurs n’est plus à établir, mais il fallait quand même entendre les envolées synchronisées monumentales des Sclavis et Derome et voir les improvisations très physiques des Tanguay et Chevillon! Quel spectacle!

Dans ce dernier cas, on ne saurait trop vanter la dextérité du contrebassiste… Cordes fouettées, grattées au pic, instrument frictionné imitant le travail du platiniste, tout y est passé!

Certainement l’un des moments les plus marquants de ce 18^e festival. Et peut-étre même de toute son histoire.