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Roland Torres, SilenceAndSound, January 30, 2020
Monday, February 3, 2020 Press

Le premier album du compositeur et vocaliste Gabriel Dharmoo interpelle, de par les questions qu’il soulève, brouillant la réalité dans des origines aux racines trompeuses.

Tout en voix, Quelques fictions invente sa propre langue, à coups d’onomatopées et de souffles, de bruitages gutturaux et d’envolées mélodiques, d’espièglerie et de culture.

On est balancé en permanence sur des géographies à la familiarité pourtant inconnue, puisant savamment dans dans cantiques tribaux ou liturgiques aux origines inconnues, inventions pleine de malice et de connections floues. L’avant-garde se dilue dans une comedia dell’arte pleine de vie et d’humour, d’inattendu et de surprise. Brillant.

L’avant-garde se dilue dans une comedia dell’arte pleine de vie et d’humour, d’inattendu et de surprise. Brillant.

Review

The New York City Jazz Record, no. 214, February 1, 2020
Monday, February 3, 2020 Press

On Sukoku pour Pygmées, reedplayer Jean Derome, a central presence in Quebec’s new music collective Ambiances Magnétiques, culls three works composed ten years apart. Starting with Les Dangereux Zhoms (pianist Guillaume Dostaler, bassist Pierre Cartier, drummer Pierre Tanguay), the foursome is augmented by violin, two more woodwinds, three horns (including tuba), electric guitar, percussion, plus a director to cue events. The title track, a flexible canon, derives from a Sudoku puzzle solution, with two parent scales (together containing all 12 pitches) and independent assignments for each voice, generating a decentered yet well-balanced contrapuntal web. 7 Danses (pour «15»), a suite, ranges from roiling folk dance to off-kilter jazz waltz to rubato pastoral. 5 pensées (pour le caoutchouc dur) is expansive, carnivalesque, fueled by low tumbling horns, vocalistic cries, climaxing in a smooth but skronky polka.

5 pensées (pour le caoutchouc dur) is expansive, carnivalesque, fueled by low tumbling horns, vocalistic cries, climaxing in a smooth but skronky polka.

Review

Paul Serralheiro, The Squid’s Ear, November 19, 2019
Wednesday, November 20, 2019 Press

Sitting down to listen to an album of improvised music is like sitting down to a dinner prepared by guest chefs given artistic license. You never know exactly what you’ll get and the surprise element is a significant pleasure factor in the experience.

Putting together three musicians like guitarist Arthur Bull, trombonist Scott Thomson and drummer Roger Turner can yield unpredictable results. Bull and Turner have played together on occasion since 2002, but Thomson is a recent addition to the mix and the end product is a series of fresh and unexpected tracks of creative improvisation of the textural and conceptual kind that evolve organically into coherent and delightful compositions.

Bookshelves, which opens the set of six tunes on the Musique Actuelle Montréal label Ambiances Magnétiques, sets the tone for the experience, with its gentle progressing sound drips and bubblings, with a percussive emphasis, threaded by the cooing of Thomson’s trombone as he makes judicious use of mutes and provides some varied articulations that are as expressive as they are imaginative.

In contrast to the silk tones of the trombone, Bull’s guitar weaves some slinky lines of surprising variety, as in The Meadows where he works a nice tremolo effect, along with smooth sliding and thin pizzicato sounds from various manipulations of strings and articulations of the outside-the-box variety.

The set ends with Murray Street Skins, a piece that alludes to the Montréal Griffintown neighborhood street that was home to local legendary free jazz drummer John Heward who passed away in 2018. Standing, perhaps, as a tribute to his artistry, which is reflected here in the focus on percussive sounds, from guitar and drums, while Thomson improvises a sort of uplifting dirge with smears and gutturals with fetching lyrical elasticity.

Sitting down to listen to an album of improvised music is like sitting down to a dinner prepared by guest chefs given artistic license.

Classical Junos: Who should win the composition of the year award?

Robert Rowat, CBC Music, March 14, 2019
Wednesday, October 9, 2019 Press

For the first time, women outnumber men among the nominees in this category.

Miller’s string quartet About Bach won the 2016 Jules Léger Prize, Canada’s highest honour for new chamber music, giving it serious momentum. It’s the centrepiece of Bozzini Quartet’s 2018 release Just So, an album devoted to Miller’s music.

The five-minute excerpt, above, gives a sense of the 24-minute work’s non-developmental nature. Pervading the entire composition is a repeated ascending scale, a Bach fragment, played alternately by the violinists two octaves above the rest of the ensemble. Meanwhile, the other three musicians play, in homophony, a sort of chorale whose rhythm has run amok. The repeated motif first fascinates, then hypnotizes and ultimately serves a devotional function, focusing the listener’s attention. The piece seems to go nowhere while also taking you everywhere on a self-reflective, meditative journey.

Most music aims to engage your mind; Miller’s manages to free it, which leads to a whole new type of listening experience.

Miller’s string quartet About Bach won the 2016 Jules Léger Prize, Canada’s highest honour for new chamber music, giving it serious momentum. It’s the centrepiece of Bozzini Quartet’s 2018 release Just So, an album devoted to Miller’s music.

Review

Stuart Broomer, The WholeNote, no. 25:2, October 1, 2019
Thursday, October 3, 2019 Press

The set adds substantially to the history of jazz in Canada, casting new light on its most intense moment, as well as a significant contributory stream to Québec’s diverse concept of musique actuelle, perhaps the most vigorous scene in contemporary Canadian music.

Critique

Pierre Durr, Revue & Corrigée, September 1, 2019
Tuesday, October 1, 2019 Press

… plongeant l’auditeur dans un environnement envoûté.

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