For the 2011 edition of Rencontres de musiques spontanées, the Grand groupe d’improvisation régionale libérée had invited none other than the great improvising saxophonist Evan Parker. Vivaces documents the concert that came out of their collaboration. Three improvisations: a free one, one conducted by Parker, and a final one conducted by Raphaël Arsenault. I can’t help but think of the London Improvisers Orchestra when I hear this sound mass (11 Rimouski-based musicians, plus Parker and trombonist Scott Thomson) unfold, react, and interact. The ambient sound capture is not perfect, but it’s okay enough. And after all, Evan Parker has released very few titles on Québécois labels, so I’m glad we have this one.

What happens when two classically trained musicians forego their customary instruments and get noisy? Martel’s viola da gamba is exchanged for static of unspecified origins, and Lauzier’s bass clarinet and sax are prepared and amplified to the point of feedback. Similarly, Tetreault forgoes LPs and focuses on the in-bred sound of his turntables’ motors and needle pick-ups. Far from formulaic, there are composers’ minds at work here, with gratingly engaging foreground phenomena emerging from background drones, concerto style. 8.5/10

The Italian microlabel Setola di Maiale just released an excellent (yes, excellent) record by Rimouski-based bassist Éric Normand. In October 2009, Normand assembled a stellar quintet to record three of his own compositions and an original rereading of John Tchicai’s Fields, Cows and Flowers. He is surrounded by Jean Derome, Michel F Côté, James Darling (cello) and Antoine Létourneau-Berger (vibes and cymbals). On Sur un fil, Normand deploys Spartan and enlightened compositional skills, and his score leaves plenty of room for all instrumentalists to showcase their extended techniques. Great level of interaction between musicians, and there’s something magic going on between them and the score. A demanding but highly satisfying listen. Bravo.