Montréal’s very active local music scene is characterized by an independence of spirit and a penchant for experimentation, epitomized best by the Ambiances Magnétiques label.

Two recent recordings on Ambiances manifest the variety of music that falls under the heading of musique actuelle. The first is Risque et pendule by l’Ensemble Pierre Labbé. Labbé himself plays the tenor saxophone and flute, but his sextet is really a string band that features the violin and cello of Nathalie Bonin and Julie Trudeau respectively, the electric guitar of Bernard Falaise, and the rhythm section of Frédéric Alarie (bass) and Claude Lavergne (drums). The music has a cinematic feel — the compositions move from episode to episode, and the instruments seem to “talk” against one another. Labbé uses all the colors that his instrumental palette allows, and the musicians pull off the whole thing with panache.

Ga Ma Ra is the trio of percussionist Ganesh Anandan, violinist Malcolm Goldstein, and guitarist Rainer Wiens, and their first album is Speaking in Tongnes. The interest here is in the interplay among these three mature voices. While the liner notes do not say so, the music appears to be mostly improvised. Firmly rooted in their respective traditions — South Asian, contemporary classical, jazz — Anandan, Goldstein, and Wiens are nonetheless able to communicate quite effectively with music that speaks to the possibility of an organic fusion of voices.

The improvised music scenes in Vancouver and Montréal are thriving, a fact well reflected in this new release, which showcases musicians active in both cities. What’s more, it has the added virtue of pairing two guitar and drum duo — the first being Bernard Falaise and Pierre Tanguay of Montréal, the second consisting of Ron Samworth and Dylan van der Schyff of Vancouver. For those who already know the work of these players, the “unexpected” of the title doesn’t quite ring true, since this kind of exploration of sound textures via acoustic instruments and electronics, in an aleatoric intermeshing of aural pastiches, is just what one would expect. From the percussive clatterings of the opening track Damn the Pique through the industrial buzzings and urban hullabaloo of Oh My, from the groove that is not a groove of Corned Oliphant to the lyricism in Cinq six boîtes de tomates vertes we get very eclectic aural experiences, as every means necessary is used to create the evolving interactions that make up all eight improvised cuts of this disc. The pièce de résistance Pink Crimson evolves through a wide range of moods over the 18 minutes it takes for these creative minds to have done with it, thus making it emblematic of what improvised music is all about. Rather than recreating, the musicians seek to invent, but to do so requires active listening on their part, and demands the same from the listener if he or she wishes to fully appreciate the rewarding musical gestures captured. No doubt about it — the music will keep lingering in your mind’s ear, a little longer at each listen.

Ensemble SuperMusique’s Canevas «+» could be described as a free improvisation sampler with some composed works thrown in for good measure. Featuring excerpts from four multi-thematic Montréal concerts which took place from 1998-2004, this is a great CD for both new and frequent listeners of these genres. The group employs some of the best improvisers around with numerous personnel configurations on the improvisational tracks resulting in illuminating creations. Great improvisational ideas abound here! Of note is the feisty Impro2 by Jean Derome[, Diane Labrosse] and Martin Tétreault — everything I’ve ever hoped for in an improv can be found on this 1:59 minute track. If you are going to listen to just one CD this summer, let it be this one! Great!

Mélanie Auclair’s Puce à l’oreille is an experimental exploration of first-time improvisational interactions between this cellist/vocalist and seven improvisers who have been inspirational for her. In stark contrast to the [Trio Derome Guilbeault Tanguay] 10 compositions release, this “Hi, who are you?” musical approach may lead to a more fulfilling musical experience for the performers than for the listener. The tracks here are successful mainly for the ingenuity of the performers. Auclair especially shows great promise and a mature musical sensibility. Worth checking out.

Two guitarists and percussionists from opposite ends of the country battle it out in the free improv release The Unexpected One. This noisy debut release from Bernard Falaise, Ron Samworth, Pierre Tanguay and Dylan van der Schyff has an edgy, seat-of-your-pants quality which is simultaneously appealing and unnerving. The wide range of sounds, harmonies, effects, moods and all out crashing about created here screams out for repeated listenings in order to truly grasp the ever present subtleties and nuances. Good stuff.

With the hot and hazy weather upon us, here are four recent releases from Ambiances Magnétiques to help you savour that great Canadian pastime called summer.

10 compositions from Trio Derome Guilbeault Tanguay is just that: ten compositions by band member Jean Derome dating from 1974 to present. The release finds this “cult Montréal jazz band” in excellent form, proving yet again that when musicians get together to play for fun and continue to do so on a regular basis for a number of years, the music ages like fine wine. The most musically accessible of the four releases reviewed here, there is no doubt that this is clearly a jazz disc with both its compositional and performance roots clearly entrenched in the music of Dave Holland, Ornette Coleman and Thelonius Monk. There is an underlying charm which permeates throughout regardless whether the cut is straight ahead jazz like Michka or the more free qualities of Fluide. Highly recommended.