Pour des raisons souvent aussi économiques qu’esthétiques, l’improvisation se pratique bien plus en petite formation qu’en orchestre à l’heure actuelle. C’est certainement pourquoi je n’avais pas entendu d’improvisation collective, dirigée ou non, mais sous forme orchestrale, depuis maintenant pas mal de temps. C’est donc plutôt avec plaisir que j’ai découvert le GGRIL, accompagné ici d’Evan Parker et de Scott Thomson, un orchestre de 11 musiciens québécois réunis autour d’Éric Normand. Je ne sais pas vraiment si l’initiative de ce projet lui revient, mais Vivaces a néanmoins été publié sur son propre label, et il est le seul musicien que je connaisse à l’intérieur de cet orchestre. Côté instrument, on trouve deux violonistes, deux clarinettistes et un percussionniste, deux guitares et une basse électriques, deux accordéons, un tuba et un trombone, ainsi que les saxophones soprano et ténor d’Evan Parker.

Ma première surprise en écoutant Vivaces fut tout d’abord l’absence notoire de saxophonistes (hormis Evan Parker, mais qu’on ne peut considérer comme un membre régulier de cet orchestre), et c’est peut-être la première fois que j’entends un orchestre d’improvisation libre où ne se côtoient pas tous les types de saxophones, qu’on pense seulement à l’orchestre d’Alan Silva aussi bien qu’au Globe Unity Orchestra. Fait peut-être anecdotique étant donné la présence d’Evan, mais je ne peux m’empêcher de le signaler étant donné mon amour pour cet instrument…

La deuxième chose qui m’étonne, en comparaison surtout avec les deux orchestres précités, c’est la facilité avec laquelle s’écoute ces improvisations, et la joie présente dans ces improvisations, deux éléments qui rapprochent le GGRIL du côté de l’ICP plus que des deux précédents orchestres. En tout cas, les improvisations (dirigées par Evan Parker sur la seconde piste, et Raphaël Arsenault sur la troisième, ou totalement libres) sont plutôt massives, sans pour autant manquer d’aération. On se croirait d’ailleurs assez souvent à une séance de sound-painting, notamment sur la troisième piste, qui est peut-être la meilleure du fait qu’Evan Parker assume la fonction de soliste durant son intégralité, mais également grâce à la direction assez fracturée et originale d’Arsenault…. Plus denses qu’intenses, il ne s’agit pas de produire le plus fort volume sonore, ou de multiplier des couches criardes, mais plutôt de construire des pièces où s’empilent des blocs sonores massifs, assez conséquents et souvent énergiques tout de même. Des improvisations pleines de spontanéité, de liberté, et d’écoute, dirigées de manière à ne jamais fatiguer et à nettement entrecouper les différents tableaux. L’improvisation libre marque très fortement cet orchestre, qui n’est cependant pas forcément rigide et n’exclut pas de ses improvisations des lignes mélodiques, des ostinatos, des cycles rythmiques, différentes combinaisons instrumentales et certains autres éléments rejetés parfois trop systématiquement par les européens.

From a different perspective, the next set also faetured three strings but was completely different. The last set of Day 2 featured a quartet led by Jean René on viola with Joshua Zubot on violin, Nicolas Caloia on acoustic bass and Pierre Tanguay on drums. The sound of this ensemble was like a twisted string quartet with the drums as an equal part. Whereas Zorn’s string players were articulate and tight, this quartet had a looser earthiness, which was wild and chaotic at times. The quartet blended partially written material with frenzied sections and sparse moments as well. Mr. René’s writing seemed to draw from folk/rock as well as the odd classical influence. Sometimes all three strings buzzed together intensely while longtime AM drummer Pierre Tanguay balanced both rhythmic and subtle melodic counterpoint. What was surprising about this set was that you never knew what direction was coming next. Both Josh Zubot on violin and Jean René on viola took a number of inspired solos while the group interplay that was filled with many odd twists and turns. This was music that will take some time to get used to so it is probably a good idea to get Mr. René’s disc on AM (sic!) and dig in deeper.

Ensemble SuperMusique is/are an Ambiances Magnetiques all-star ensemble with ten members for this set, which featured longtime AM players like Jean Derome, Joan Hetu, Michael Cote, Danielle Roger and Martin Tetreault plus some young musicians like Alexandre St-Onge (el. bass) and Guido De Fabro (violin). The musicians sat in a semi-circle so that they could see each other and the music seemed as if it were directed by certain improv guidelines. The instrumentation included two reeds (Derome & Hetu, also on voice, two percussionists (Roger & Cote), cello, violin, electric keyboards or synth and turntables. Considering that there were ten musicians on stage, the music was often sparse yet focused. Much of the set reminded me of John Zorn’s early game pieces (which are also directed improv without someone directing up front), although the overall vibe was slower and more cautious. Ms. Hetu did some odd vocal sounds which always fit well within the framework on the piece. Since nothing was explained, there were a series of incidents that took place which we had to interpret for ourselves. Each musician took a turn sitting in the middle of the stage and drawing or putting info into a laptop which directed the next part of the piece. I especially like the way each percussionists added something distinctly different to the direction of the set. There was also a fine sax duo with two founding members of the AM label, Joan Hetu and Jean Derome, which was both charming and quirky. I spoke with a few audience members who were confused as to what was going on on-stage so it did take some effort to figure out how things worked. Fractured fairy tales, indeed.

Considering how long German free/jazz sax legend Peter Brötzmann has been playing professionally (more than forty years), Mr. Brötzmann was in amazing form in at least two festivals in 2011, Victo in May (2 concerts) and the Vision Fest in June (3 concerts). I caught all of these sets and was consistently blown away by each one.

The solo set from the first of this new Victo disc features four pieces with Brötzmann on three different reed instruments (alto, B-flat clarinet & tenor). Solo recordings and performances by Brötz are relatively rare so this disc is a special treat. Like all Victo recordings, the sound here is excellent, clean, clear and powerful. Brötzmann makes each note count, focusing on certain phrases and even laying back for a couple more poignant sections. When Peter switches to clarinet for the second piece, his tone is completely distinctive like a voice that you recognize instantly of an old friend. Again, he often lays back and shows another side — thoughtful and contemplative at first before reaching for the stratosphere with wails, screams, effective bent notes and intense blasts. For the longest piece, Frames of Motion, Brötzmann switches back to his main horn, the tenor sax. This is where he digs in and shows his immense presence. Just plain incredible! Strangely enough he dips into the standard I Surrender Dear amongst his varied, unending explorations. The final piece is relatively short yet enchanting version of Ornette’s classic Lonely Woman. It is a perfect way to bring this superb solo offering to a grand close.

The trio set was devastatingly great! An explosion of Euro electric free/jazz insanity! Nearly 70 minutes of blisterin’, over-the-top hurricane force volcanic eruption! This is one incredible, super-tight trio playing for all its worth. This was also one of those sets that anyone who was there will never forget. Turn it up and let it wail, wave after wave. Paal Nilsson-Love who remains one of most creative drummers alive was in especially fine form — his playing was riveting and I couldn’t take my eyes off him. Massimo Pupillo from the Italian jazz/punk band ZU is also a force to be reckoned with on electric bass. It sounds as if Peter Brötzmann’s head is about to explode! Jeez, could it get any more intense!?! I don’t think so. This is one of the most throttling sets I’ve heard in a long while so watch out, it is not for the timid. Great googely moogely and holy shit!

[…] Érick d’Orion, commissaire aux installations sonores, un concept mis de l’avant au FIMAV depuis trois ans s’est montré fier de leur impact auprès des résidants des Bois-Francs. «Nous avons observé que les gens étaient curieux de ces installations qu’ils fréquentaient par hasard au cours des années précédentes. Ils se les approprient, ce qui augure bien pour les années à venir.»

Great Québécois musique actuelle from yesterday (pieces by Lussier, Derome, and Guilbeault) and today (Jean René’s original compositions). Whimsy, humour, tenderness, group playing. A very fine project that deserves to record at least twice: one album of originals and one album of covers. Any takers?