[…] This was a shining example of micro-tonal field performance, but let’s contrast this with the superb Saturday afternoon theatre set from electric guitarist Ryan Kernoa in combination with electric bassist Éric Normand and Canberra musician Michael Norris on electronics. Normand does a lot more than merely strum his instrument in time which one often comes to expect from a bassist. If I can be so bold to make the comparison, Normand does for improvised music what Joy Division bassist Peter Hook did for post-punk in terms of redefining the role of the bass, so that it adopts the role of a lead instrument that allows for harmonic interplay beyond simply laying foundations.

So it went that Normand attached all sorts of devices to his instrument. He banged and stroked it in equal measures to set a scene that involved controlled feedback, performance theatre in the form of physical contortions in response to the sound, and a highly disciplined approach to noise making. This was enhanced to the nth degree by the mouth watering atonality of guitarist Ryan Kernoa who altogether dispensed with melody to explore bristling electrified string configurations which at times reminded me of Thurston Moore at his finest. When Michael Norris’ flailing tonal pitches on electronics were added to the mix the ensuing sound from the three performers was a welcome exploration of noise that improvised music hasn’t forgotten.

Trois formations pour trois navires en partance vers l’Amérique. C’était en 1492 et un certain Christophe Colomb n’y était pas pour rien. La Pinta est représentée par le GGRIL (Grand groupe régional d’improvisation libre). La navigation est lente. Les riffs de cordes sont saillants. On transpire dans l’entrepont. Les bois crissent. La tension est constante. La Niña bénéficie des brouillages de l’Ensemble SuperMusique. Appeaux et bruissements électroniques ouvrent le bal. Puis, entre craquements et bruitisme, s’immiscent un zeste de rock, de jazz (Take Five cité) ou de musique ancienne. La Santa Maria sombra le 25 décembre 1492. Pour l’heure c’est l’ECM+ (Ensemble contemporain de Montréal+) qui guide la galère. Les mélodies sont au centre du voyage: mélodies suaves et sans brûlure ni brutalité; mélodies douces et rassurantes, n’annonçant en rien le naufrage à venir.

Liant les trois parties, deux musiciens. Le premier se nomme Juan del Encina (1468-1529). Il est le compositeur de Todos los bienes del mundo et guide de sa musique profane ce long voyage. La seconde n’est autre que Danielle Palardy Roger, compositrice, percussionniste, fondatrice et directrice musicale de l’Ensemble SuperMusique. Son désir d’explorer musique ancienne et actuelle, musique écrite et musique improvisée, consonance et dissonance ne manque ni de charme ni d’atouts ici. On vous souhaite une bonne traversée.

Un mois avant de disparaître, Bill Dixon emmenait un nonette à Victoriaville, et donnait son dernier concert. À ses côtés, les musiciens déjà présents sur Tapestries for Small Orchestra: Taylor Ho Bynum, Stephen Haynes, Rob Mazurek, Graham Haynes et Michel Côté, Glynis Loman, Ken Filiano et Warren Smith. En deux temps, Envoi arrange des parallèles et provoque quelques perturbations qui interrogent leur résistance: l’ouvrage de traîne est captivant, que rehausse en plus les incursions qu’y taille la clarinette contrebasse de Côté.

Monsieur Délire announced the Top 30 of its Demanding Music list which includes Teoria dell’elasticità di Girolamo Papariello by Michel F Côté and Filature by Joane Hétu.

A strong free improvisation concert recorded in April 2010 in Toronto. Very fine interplay between Rampersaud’s trumpet and Evan Shaw’s saxophone — you could easily believe some of their lines were pre-written. The work of Polish percussionist Tomasz Krakowiak remains mysterious, his very subtle textures blending in with the other sounds. Serious music, though not scholar; demanding music that never sounds forced.

Assembled for a visit of Anthony Braxton in Toronto, the Association of Improvising Musicians — Toronto’s AIMToronto Orchestra has continued to evolve and is now releasing its first studio album. The orchestra is a 17-piece of almost exclusively acoustic instruments. The album features seven compositions by some of its members: Justin Haynes, Kyle Brenders, Joe Sorbara, and Germaine Liu. Brenders’ three pieces are long, methodical and often minimal — successful experimentations with the orchestra’s possibilities. Haynes’ two tracks are shorter, more whimsical and twisted, reminiscent of René Lussier’s writing style. A strong record, both in terms of composition and interpretation. Recommended.