Le souffle de Tony Malaby ne peut laisser indifférent. Tel un paquebot enroué ou une gralla catalane éraillée, son saxophone refuse d’aller en paix. Malaby malaxe, ressasse, pointe une convulsion, flirte avec le microtonal, tricote quelques pestes soniques, joue droit puis courbe. Bref, aime à chercher ce qui lui résiste encore quitte à oublier l’instant présent. Malaby est un solitaire, il faut faire avec.

Aux cotés du très fin batteur Nick Fraser et des très complémentaires Andrew Downing (violoncelle) et Rob Clutton (contrebasse), et bien plus que d’ordinaire, il laisse ouverte la parole. Ici, les compositions du batteur imposent simplicité et insistent sur les béances rythmiques. Les espaces ainsi affirmés, chacun va raconter sa petite histoire avec plus ou moins de bonheur. Et dans le cas de Tony Malaby, l’on s’en doute, le lyrisme ne sera pas laissé au fond du filet.

Eleven compositionsfor voice and trombone by trombonist Scott Thomson, based on poems by P.K. Page. Enjoyable melodies, somewhere between lieder and jazz. Simple music imbued with contemplation and carried by the depth of Page’s words, sung by Hood with sensibility and precision. An elegant and highly coherent artistic proposition.

As mass media continues to promote music as another instantly consumed product, the likelihood of new sounds — or even older ones — being ignored because they don’t fit the style of the moment intensifies. This is especially true when it comes to improvised music. But with the holiday season looming, more committed listeners may be seeking gifts for those who appreciate challenge rather than comfort in their music. Here are some CDs from 2013 that fit the bill. They include ones by established players, younger stylists plus important reissues. […]

Another reed experimenter is Montreal-based clarinetist Lori Freedman, whose seven improvisations on On No On are with percussionist John Heward. Related to the cerebral texture and timbre experiments of Butcher/Buck or Parker/Lytton, there’s no chordal instrument present to smooth the interface. The chief pleasure of these tracks is noting the substance of Freedman’s reed flurries and the strategies Heward pulls from his kit to parry her thrusts. Using his palms as often as sticks, Heward’s whacks or rolls are singular replies to the reed solos which frequently extend like run-on sentences, adding violent or narrowed projections to make a point. Marimba-like reverberations are called into play on those rare occasions when Freedman’s output turns legato. Overall while technical prowess is the point, by the final Improvisation 7, the narrative turns from squeaks and shudders to an almost jaunty melodiousness. […]