Nous perçons les oreilles, Plant / Jean Derome, Joane Hétu, Éric Normand, Jim Denley
The music by these musicians is powerful, intensive and filled with innovative ideas. — Avant Scena
Enregistrée lors du Assembly 1 Festival, à Vancouver en novembre 2016, la rencontre des deux duos, Nous perçons les oreilles et Plant, fût un moment musical enflammé, palpitant et puissant. Une braise solide a permis aux flammes de virevolter et d’allumer littéralement le public du Western Front. En complément de programme, chaque duo nous présente un extrait, également enregistré en concert, témoignant de leur feu sacré, de leur ardeur et de leur implication à créer de la musique improvisée transcendante et lumineuse.
- Compositeur·trice(s): Jean Derome, Joane Hétu, Éric Normand, Jim Denley
- Interprète(s): Nous perçons les oreilles, Jean Derome, Joane Hétu, Plant, Éric Normand, Jim Denley
- Graphisme: Fabrizio Gilardino
Téléchargement (MKR 114)
- 1Flammes (Jim Denley, Jean Derome, Joane Hétu, Éric Normand) (2016), 19:04Plant (Jim Denley, saxophone alto, jouets; Éric Normand, basse électrique); Nous perçons les oreilles (Joane Hétu, saxophone alto, voix, objets; Jean Derome, saxophone alto, objets)
- 2Flammes_PLANT (Jim Denley, Éric Normand) (2019), 10:00Plant (Jim Denley, flûte basse, saxophone alto, fruits; Éric Normand, basse électrique, caisse )
- 3Flammes_NPLO (Jean Derome, Joane Hétu) (2016), 10:08Nous perçons les oreilles (Joane Hétu, saxophone alto, voix, objets; Jean Derome, saxophone alto, objets)
- Étiquette: Mikroclimat
- MKR 114
- UCC 771028301485
- Durée totale: 39:12
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Flammes is out now on “Mikroclimat” label. Album was recorded by Nous perçons les oreilles & PLANT — it’s two great duos based on impressive musicians and improvisers. Here together plays Éric Normand (electric bass, snare drum), Jim Denley (alto saxophone, bass flute, toys, fruits), Joane Hétu (alto saxophone, voice, objects) and Jean Derome (alto saxophone, objects). The music by these musicians is powerful, intensive and filled with innovative ideas. All four musicians are masterful and inventive composers — they manage to join together experimental music, electronics and free improvisations to one place. They’re also great and inspiring improvisers — spontaneous solos, expressive and vivid melodies, thrilling bursts, energetic culminations and special effects are the main compounds of their music. The authentic synthesis between contemporary academical music and avant-garde jazz makes an effort to colorful, original, inspiring and trendy sound. Musicians always like to find new ways of playing, use original expressions and get on brave, extravagant and impressive experiments. The improvisers are already famous on world-wide scene — they’ve had been collaborating and playing together with other famous jazz masters and the musicians related to other music genres.
Flammes is a great and impressive synthesis of various music styles. Avant-garde jazz and free improvisation contain the base of the musical pattern. These styles certainly go along with the newest tendencies of experimental jazz — stunning sound experiments, authentic, specific, rare, exotic, weird or simply crazy ways of playing, original methods of improvising, unique sound, special effects and evocative decisions are the part of it. The musicians don’t go away from the rules and the roots of avant-garde jazz — they find a suitable and impressive way to connect together the innovations and roots of 1960’s avant-garde jazz, the music of famous Canadian and American avant-garde jazz pioneers and traditional methods of improvising. Avant-garde and experimental jazz meet contemporary academical music, experimental music and academic avant-garde mixed up with electro-acoustics and electronics. It’s like two absolutely different pieces gently joined together — strict, awakening, modern and evocative academic avant-garde is accompagnied by ambient, glitch, other special effects and electronics, synthetic forms and wide range of dynamics, timbres and tunes. The musicians manage to create fascinating musical pattern. Free collective improvisation is the key of it. Synthetic and open form gives an opportunity to get on adventurous experiments, powerful culminations or stunning musical experiments and eclectic stylistic combos. It’s the best place to connect together absolutely uncompairable styles and elements. Polyphonic facture is made by using individual melodies created by each improviser. The musical pattern is multi-layed, filled with gorgeous tunes, strange timbres, rich and expressive musical language, passionate expressions, all kinds of rhythms, tunes and chords. Innovative and fascinating instrumental section is created — it’s based on rare combos, exotic and extended playing techniques, sound experiments, innovative or specific ways of playing, who are fused together with conventions of contemporary academical and experimental music. The melody line is solid, engaging and driving. It’s based on three alto saxophones, bass flute and electric bass. Vivid, dynamic and expressive melodies of saxophones give the main tune to the melody. There are dozens of elements who gently fit together in one place — dizzy solos, sharp growls, hot thrills, tremendous explosions, bursting culminations, blowing and frantic riffs, aggressive and furious blow outs or soft, sweet, calm and lyrical excerpts. Bass flute brings solemn, deep and calm bass line, strange timbres, weird combos and original tunes. Electric bass is crossing with the saxophones especially in instrumental section, but makes a fantastic combo at the same time. Sharp, electric, synthetic and interesting tunes of electric bass are against natural, warm, expressive and moving solos of saxophones and bass flute. Sharp riffs, powerful bursts of energy, intensive melodies, passionate improvisations, deep and peaceful contemplations who grow out to frantic, thrilling and vibrant free improvisations — that’s the base of these improvisations. Electric bass and saxophones make a fantastic combo — their collective improvisations are the most effective elements of these compositions. The musical backgroudn is gorgeous and bright — it’s based on hollows, spoken elements, declamations, experiments with voice, as well as the sounds of various objects and toys. The rhythmic section is based on various kinds of rhythms. Breaking sessions, thrilling and trembling solos, tremendous culminations, strange timbres, tiny ornaments, dizzy passages and dozens of other elements are gently combined together. This album has impressive, bright and vivid sound.