La boutique des nouvelles musiques

Y’a du bruit dans ma cabane Ensemble SuperMusique

Prix Opus 2008-09: Disque de l’année — Finaliste

Y’a du bruit dans ma cabane est fort différent du premier CD de l’Ensemble SuperMusique Canevas «+» qui regroupait des extraits de concerts présentés à Montréal entre 1998 et 2004, et où l’on retrouvait différentes facettes et formations de l’Ensemble SuperMusique. Cette toute nouvelle parution de l’ensemble est en effet l’œuvre d’une seule et même formation et présente une savoureuse homogénéité. On y entend, du début à la fin, un véritable son d’ensemble. On y sent l’unité d’un seul et même souffle; et l’on ressent cette profonde et intense cohésion que vivent ensemble Jean Derome, Joane Hétu, Diane Labrosse, Danielle Palardy Roger, Pierre Tanguay et Martin Tétreault. Construite à partir de concepts amenés par Derome, Hétu, Labrosse et Roger, cette cabane pleine de vie, d’éclats et d’audaces sonores est animée par une véritable famille; une équipe de champions de l’improvisation. Une joyeuse cabane dont la brillance sonore a été, de plus, bonifiée par les «oreilles magiques» de Paul Dolden.

Y’a du bruit dans ma cabane

Ensemble SuperMusique

Jean Derome, Joane Hétu, Diane Labrosse

Quelques articles recommandés

La presse en parle

  • Vincenzo Giorgio, Wonderous Stories, no 15:38, 1 mai 2009
  • Henryk Palczewski, Informator “Ars” 2, no 49, 1 avril 2009
  • Kurt Gottschalk, The Squid’s Ear, 5 mars 2009
    Their challenging approaches to contemporary composition and structured improvisation rely on the communal spirit upon which the collective is built (...)
  • Gabriel Bélanger, SOCAN, Paroles & Musique, no 16:1, 1 mars 2009
    Les sept membres sont passés maîtres dans l’art de l’improvisation et de la création spontanée…
  • Wayside Music, 1 février 2009
    this lively shack full of adventurous sonic outbursts is inhabited by a true family, a team of improvisation champs.
  • Stefano Isidoro Bianchi, Blow Up, no 129, 1 février 2009
    improvvisazioni che coinvolgono ogni tipo di strumento (fiati, corde, elettronica, sampler, giradischi, oggetti) con un gran senso dell’ironia, del gioco e del paradosso e nessun rispetto delle (altre) regole.
  • Zdenek Slaby, Unijazz, 1 février 2009
  • Bruce Lee Gallanter, Downtown Music Gallery, 16 janvier 2009
    … after so many years of music together, this ensemble still sound fresh, exciting and filled surprises.
  • Dolf Mulder, Vital, no 660, 6 janvier 2009
    Detailed pictures full of small and delicate sounds and noises.
  • Eric Theriault, Panpot, 23 décembre 2008
    Y’a du bruit dans ma cabane is all about the process, and is not to be approached with any kind of pop possibility, evidently, but rather with an imaginative heart.

Piogge magnetiche. Dieci nuove dal Québec.

Vincenzo Giorgio, Wonderous Stories, no 15:38, 1 mai 2009

La prestigiosa Ambiances Magnétiques continua, imperterrita, ad illuminare i cieli musicali contemporanei con quel suo catalogo che mischia, visionariamente, musica contemporanea, elettronica, jazz e, persino brandelli del più fosco rock illuminato. Come? Dieci nuovi esempi per capire…

Arbor Vitæ (Quatuor Bozzini) è un doppio, incredibile cd attraverso il quale il già noto ensemble canadese esegue otto composizioni che James Tenney - musicista originario del New Mexico - ha scritto tra il 1963 e il 2006. Il risultato è di abbacinante bellezza: oltre due ore di musica che, partendo dall’ambient disturbato dall’omonina Arbor Vitae cresce lentamente ed inesorabilmente fino a toccare (solo per fare due esempi) le dissonanze post-novecentesche di Saxony e il dolente solipsismo melodico del Stochastic String Quartet. Senza dubbio la perla delle nuove uscite AM.

Molto interessante anche il lavoro dei nostri Taxonomy che con 10 Taxonomical Movements toccano momenti di rara intensità. Elio Martusciello, Graziano Lella e Roberto Fega conducono l’ascoltatore attraverso un suggestivo viaggio contrassegnato da (appunto) dieci movimenti che, a differenza della loro denominazione classica (andante, adagio…) si muovono in territori post-elettronici. Mi piace segnalare l’intenso ligietismo dell’Ouverture ma anche la patafisica del Larghetto-appassionato che, grazie anche alla melodica stralunata di Fega, trovo assai contigua al miglior Pierre Bastien.

Con Y’a du bruit dans ma cabane dell’Ensemble SuperMusique (in cui spiccano i nomi di Jean Derome, Joane Hétu, Diane Labrosse e Pierre Tanguay) approdiamo in quella rarefatta terra dove la radicalità creativa assurge a vero e proprio totem. Da qui sei tracce che partono da atmosfere inquiete (8 moments brefs) toccando le terre informi della manipolazione (Positions d’amour) fino a sublimarsi nella destrutturazione vocale (Discussion au living room).

Le già citate Hétu (sax e voce) e Labrosse (elettronica) le troviamo coinvolte in un altro progetto piuttosto contiguo e, con l’aggiunta di Danielle Palardy Roger (percussioni), tutto al femminile: Les Poules. Phénix è altra opera pervasa da un forte radicalismo improvvisativo anche se, rispetto alla precedente, sa maggiormente curare la dinamica del suono (Grandeur Royale) lavorando su spazi più aperti (La porte immense) senza però disdegnare l’elemento più spiccantamente vocal-rumoristico (Rapaces).

Volendo stare ancora negli anfratti del radicalismo sonoro come non parlare delle Vulgarités di Michel F Côté e Isaiah Ceccarelli? Tredici storie fatte di fraseggi disconnessi (Surmenage brun), pertugi appena abbozzati (la struggente Surmenage caca d’oie), violente zaffate elettronico-percussive (Grace maussade, Apothéose du vague…) pseudo ritmi rock sbrindellati (Somme de nos échecs). Insomma un lavoro che sa guardare molto avanti e con molto coraggio.

Anche a Sébastien Cirotteau, Brigitte Lacasse, Catherine S Massicotte e Éric Normand il coraggio non manca. Infatti con la loro Face à la dérive disegnano quello che potremmo definire un “affresco ambientale” dove la loro strumentazione acustica (piano, fisarmonica, violino, basso, percussioni) si fonde con le voci di un viaggio attraverso il paesaggio sonoro del fiume Saint-Laurent. Due grandi suite (Partie Un e Partie Deux) che, pur nell’indubbia originalità del progetto e dei molti interventi strumentali di grande pregio, non riesce ad affrancarsi da una eccessiva ripetitività.

Di grande impatto emotivo è, invece, Out Of Nowhere, di Joëlle Léandre, et Quentin Sirjacq. Vivida perla chiaroscurale soprattutto per gli amanti delle efflorescenze cameristiche. Come non rimanere magicamente irretiti dalle malmostose trame di Opening dove il dialogo tra il contrabbasso della Léandre e il piano di Sirjacq si fa autenticamente inquietante? E lo stesso vale per il raffinato bisbiglio di Presence in costante bilico tra John Coltrane e Claude Debussy così come per quell’insistito giocare nel silenzio di Absence.

Sulle stesse frequenze - anzi, con più accondiscendenza melodica giocata in un contesto decisamente jazz - va collocato il Geggie Project messo in scena da John Geggie (contrabbasso), Marilyn Crispell (piano) e Nick Fraser (batteria). Disco di rara intensità che potrebbe benissimo far parte della collezione ECM. L’esordio di Credo è di quelli che - nella sua scarna poesia - lascia il segno anche se la successiva ce and Meltwater mette in campo situazioni più irsute e puntillistiche. Molto bella (anche se non del tutto scevra da una certa retorica jazzy) Or Not così come la lirica Across the Sky.

Con Disparition de l’usine éphémère di Philippe Lauzier, Pierre-Yves Martel, Kim Myhr e Martin Tétreault la faccenda riprende a complicarsi. Un’opera indubbiamente assai interessante che propone un linguaggio non immediatamente assimilabile dove l’usurato aggettivo “elettroacustico” può essere speso con una certa coerenza. Dieci composizioni che trasfigurano, manipolandoli elettronicamente, una manciata di strumenti acustici (sax alto, clarinetto basso, viola da gamba, chitarra…) ponendoli in dialogo con uno spiccato rumorismo impressionistico. Il risultato potrebbe pure ricordare certi lavori dei già citati Klaxon Gueule: Électro-polissage e Chantier naval mi sembrano i risultato più interessanti.

Antoine Berthiaume e il grande Elliott Sharp, come noto, sono due chitarristi “border-line” che in Base si confrontano con sfacciata visceralità. Undici improvvisazioni che fluttuano, crudeli e suadenti, nell’elettronica post ambientale più bieca. Musica fatta di corpose pennellate materiche come ci si trovasse di fronte ad un quadro di Jackson Pollock: il lancinante lamento di Phase e il suo tormentato sciamare, così come il rock-blues slabbrato di Station sono solo tre esempi che fanno di questo lavoro un’uscita impedibile per chiunque voglia fiutare dove veramente tiri il vento del Nuovo. Vento che soffia da Ambienti Magnetici…

Heard In

Kurt Gottschalk, The Squid’s Ear, 5 mars 2009

Ensemble SuperMusique’s first album, Canevas, came along in 2004 with the feeling of something like a holler. Nous sommes super!, they seemed to shout from Quebec. “We’ve been here making excellent records for years! Pay attention!” That may not have been the intention behind the name the group chose for itself, but with a membership including the cream of the Ambiances Magnetiques collective, the claim to “supergroup” status was founded.

It was a strong record, a montage of 12 improvisations by various subgroups of the octet and two compositions by saxophonist and vocalist Joane Hétu. But at the same time it had a bit of the feeling of a label sampler: a broad variety of material representing different aspects of the collective and the label it runs. For their second release, however, the ante has been upped. Y’a du bruit dans ma cabane is an impressive and cohesive album. Stripped down to an all-star sextet (Hétu, Jean Derome, Diane Labrosse, Danielle Palardy Roger, Pierre Tanguay and Martin Tétreault), they present here four compositions rather than a hodgepodge assemblage. Hétu’s 8 moments brefs follows a smart, indeterminate graphic score, opening the disc by allowing the band to display chops and wits. Percussionist Roger’s title piece, at 20 minutes, the longest track here, is another guided improvisation with a score following the floorplan of a house. Electronics composer Labrosse offers a delicate yet wide-ranging sound-song about the passing of time, and Derome, saxophonist and outdoor enthusiast, leads the group in a rollicking, abbreviated version of his Canot-camping, a piece conceived as a geography of songs, scores and improvisational strategies to explore.

But more important than the composer credits is the relationships these six musicians have built up over the last couple of decades. Their challenging approaches to contemporary composition and structured improvisation rely on the communal spirit upon which the collective is built, and never on an Ambiances Magnetiques record has that been more evident than on Y’a du bruit dans ma cabane.

Their challenging approaches to contemporary composition and structured improvisation rely on the communal spirit upon which the collective is built (...)

Lancements

Gabriel Bélanger, SOCAN, Paroles & Musique, no 16:1, 1 mars 2009

Tels des découvreurs, les membres de l’Ensemble SuperMusique se permettent l’inattendu et le révolutionnaire. Ils font en effet de leurs pièces de savants mélanges d’organique et de mécanique, de petits bijoux d’individualité et de collectif… Les sept membres sont passés maîtres dans l’art de l’improvisation et de la création spontanée mais savent aussi utiliser les avantages d’une concertation créatrice. Le résultat de leurs explorations est d’une singularité déconcertante et suscite une réflexion approfondie à l’auditeur.

Les sept membres sont passés maîtres dans l’art de l’improvisation et de la création spontanée…

Review

Wayside Music, 1 février 2009

Y’a du bruit dans ma cabane, Ensemble SuperMusique’s second CD, marks a serious side step from its debut Canevas +, which culled excerpts from concerts presented in Montréal between 1998 and 2004, and featured various facets and line-ups of the group. This brand-new release is the product of a single line-up and features some tasty homogeneity. One really hears a group sound from beginning to end. One can feel the unity of breath, the deep and intense cohesion existing between Jean Derome, Joane Hétu, Diane Labrosse, Danielle Palardy Roger, Pierre Tanguay, and Martin Tétreault. Built from concepts suggested by Derome, Hétu, Labrosse, and Palardy Roger, this lively shack full of adventurous sonic outbursts is inhabited by a true family, a team of improvisation champs. A fun shack where sonic brilliance has been enhanced by Paul Dolden’s magic ears.

this lively shack full of adventurous sonic outbursts is inhabited by a true family, a team of improvisation champs.

Altrisuoni

Stefano Isidoro Bianchi, Blow Up, no 129, 1 février 2009

Consuete buone nuove dal prolifico giro Ambiances Magnétiques. Michel F Côté (Klaxon Gueule) e Isaiah Ceccarelli manipolano strumenti a percussione (batterie, pianoforti) e un po’ d’altro (elettronica, lap steel, tromba) facendone risultare improvvisazioni e sincopi il cui (forte) senso ritmico si astrae e raggruma in una miriade di costipatissime micro-apparizioni che vanno e vengono come in un flipper (in più di un momento vengono in mente i fURT); ascolto che richiede massima attenzione e che ipnotizza ancor prima gli occhi che le orecchie.

Più tradizionale l’incontro tra il contrabbasso di Joëlle Léandre e il piano/piano preparato di Quentin Sirjacq, i cui duetti esprimono una tensione costante ma tenuta a freno da una sensibilità sonora estremamente raffinata e riservata, quasi intimista; nei rari momenti in cui l’equilibrio viene meno - o meglio è lasciato più libero - il risultato è straordinario.

Già dai nomi coinvolti (Jean Derome, Joane Hétu, Diane Labrosse, Danielle Palardy Roger, Pierre Tanguay e Martin Tétreault) l’Ensemble SuperMusique si presenta come una sorta di supergruppo dell’improvvisata canadese; i musicisti si sono dati poche ma rigide regole: minimo di due esecutori per volta, sequenze che non vadano oltre il minuto di durata, poi repentino cambio di materiali e pausa personale di almeno una sequenza. Il risultato è meno cervellotico di quanto non appaia anche se non così coinvolgente: improvvisazioni che coinvolgono ogni tipo di strumento (fiati, corde, elettronica, sampler, giradischi, oggetti) con un gran senso dell’ironia, del gioco e del paradosso e nessun rispetto delle (altre) regole.

improvvisazioni che coinvolgono ogni tipo di strumento (fiati, corde, elettronica, sampler, giradischi, oggetti) con un gran senso dell’ironia, del gioco e del paradosso e nessun rispetto delle (altre) regole.

Review

Bruce Lee Gallanter, Downtown Music Gallery, 16 janvier 2009

This is an all-star Ambiances Magnetiques ensemble, hence the name, recorded live in concert in September of 2007 in Montréal. Four of the members, Hétu, Roger, Labrosse and Derome, each conducted or directed the improvisations and each used a different approach. Joane Hetu’s 8 moments brefs is a game that deals with the perception of time, based on 1 minute segments in which the material is switched around. This keeps the flow of ideas compact, as textures and combinations of players shift during every (imagined) minute. There is a leaky faucet in my kitchen where I work at my computer and I couldn’t tell if the dripping was a part of this disc until I made sure. With a sampler, a turntable (often without records), manipulated objects and strange voices, it is hard to tell who is doing what. There are brief and often poetic explanations of the composers’ intent which give us some idea of what’s what. Danielle Roger’s four part Y’a du bruit dans ma cabane creates a “customized universe of the rooms of a house” and sounds like well-constructed electronic music and selective samples. Intense and evocative of the complexity of modern civilization. Diane Labrosse’s Une année dans la vie de… deals with the twelve months of the year and the layers of voices are ghost-like and quite haunting. Jean Derome’s Canot-camping… deals with numerous body signals which steer the music. There seems to be a great deal of directed fragments involved: strange voices, quick changes, toys and a good dose of humor. What I find so remarkable is that after so many years of music together, this ensemble still sound fresh, exciting and filled surprises. Some things do get better as they evolve.

… after so many years of music together, this ensemble still sound fresh, exciting and filled surprises.

Review

Dolf Mulder, Vital, no 660, 6 janvier 2009

Les Poules is a trio made up of Joane Hétu saxophone, voice, Diane Labrosse (sampler), and Danielle Palardy Roger (percussion). Their collaboration as Les Poules has a history going back to 1986 when they released their first record Les contes de l’amère loi, to be followed by Prairie Orange in 2002. But under the names of Justine and Wondeur Brass their history goes back even further. All three of these women are very experienced improvisors and composers. All three of them have their own projects going on, and also they participate in even more projects and groups. From time to time they decide to write another chapter in the Les Poules-book. Phénix, their third project, is comprised of 24 tracks divided in six sections. All tracks are under 3 minutes and the tracks within each section make up one continuous whole. The recordings took place on two days in january 2008. Hétu contributes most (and best) of the time with her voice, making all kinds of noises that go well with the disciplined use of the sampler by Labrosse and the percussion work by Roger. They create moods and textures through improvisations that concentrate on the qualities of sound.

All three take also part in the Ensemble Supermusique that is completed by Jean Derome (sax, objects, voice), Pierre Tanguay (drums) and Martin Tétreault (turntables). Recorded live in September 2007, the CD offers four improvisations for which respectively Hétu, Roger, Labrosse and Derome delivered the leading ideas. Canot-camping is a conducted improvisation by Derome. Y’a du bruit dans ma cabane originated from a improvisation concept designed by Danielle Palardy Roger. 8 moments brefs is also a conducted game-improvisation by Hétu. In this improvisation “Each sequence lasts exactly one minute. Every minute, all musicians switch material at random.” Also for this ensemble this is a third effort. The improvisations on both records have a similar outlook. Non-rhythmic percussion, vocal sounds by Hétu and others. Detailed pictures full of small and delicate sounds and noises. At times the music becomes loud and cacophonic, but most of the time, the improvisations pass by in a steady stream full of little and small sounds and noises. The longer you look in this river, the more fish you discover. Of both records I like the one by Ensemble Supermusique the most. Improvisations on this one have many exciting moments and dynamics, and personally I’m always having a good time by the turntable contributions by Tétreault in line ups as these.

Detailed pictures full of small and delicate sounds and noises.

Meeting of the improvisation stars creates an earful of surrealism

Eric Theriault, Panpot, 23 décembre 2008

In what most enthusiasts could clearly identify as an “all-star improv lineup,” Ensemble SuperMusique certainly fit the name they’ve elected to represent themselves. A formidable bunch of misfits and Montréal counter-cultural sound artists of the first order, the crew delivers an onslaught— make it a barrage— of on-the-spot leftfield tic tacs and kling klongs with sax genius Jean Derome, sampler Diane Labrosse, alto sax provider Joane Hétu, percussion queen Danielle Palardy Roger, noted turntablist Martin Tétreault, and drummer Pierre Tanguay. All take part in the proceedings they’ve described as being "like seismographs and decoders of little nothings and big anythings."

The opening burst of saxophone madness and its ensuing revelations on the dazzling and complex Canot-camping, courte expédition is my personal favorite, stuffed with a group of twelve improvisers, and multiple concepts led by a chief apparently utilizing about sixty hand and body signals. In fact, the recording is a bit of an improvisation game "for at least two players, based on the perception of time, and where each sequence lasts exactly one minute— every minute, all musicians switch material at random," creating a conscious form of modular psychosis for the listener. Y’a du bruit dans ma cabane is all about the process, and is not to be approached with any kind of pop possibility, evidently, but rather with an imaginative heart.

Y’a du bruit dans ma cabane is all about the process, and is not to be approached with any kind of pop possibility, evidently, but rather with an imaginative heart.

Blogue

En poursuivant votre navigation, vous acceptez l’utilisation de cookies qui permettent l’analyse d’audience.