Guelph Jazz Festival 2013

  • Vendredi 6 septembre 2013
    13h00

Atelier au Guelph Jazz Festival Colloquium

Macdonald Stewart Art Centre
358 Gordon Street (@ College Avenue) — Guelph
  • Samedi 7 septembre 2013
    16h00

Pour ne pas désespérer seul

Guelph Youth Music Centre
75 Cardigan Street — Guelph

Programme

  • Commande: Coat Cooke pour le Orkestra Futura, avec l’aide du CAC
    • 1. (sauter sur) Les occasions
    • 2. La pétille
    • 3. La caresse des organes
    • 4. Désespérer seul — couplet
    • 5. Désespérer seul — refrain
    • 6. La vie rêvée
    • 7. La plainte
  • Commande: Productions SuperMusique, avec l’aide du CAC
  • Commande: Productions Plateforme
    • 1. Le glas
    • 2. Le rift
    • 3. Les synapses
    • 4. Le derrick
    • 5. Tec(hno)t®onique
    • 6. Le lit du chiro
    • 7. Les volcans
    • 8. La dérive des continents
    • 9. Plate-forme électorale
    • 10. Plancher de danse
  • Dimanche 8 septembre 2013
    0h00

Nuit blanche 2013: Nous perçons les oreilles

Silence
46 Essex Street — Guelph
  • Dimanche 8 septembre 2013
    0h00
Sukha Yoga Centre
42 Wyndham Street North, Unit 101C — Guelph
  • Dimanche 8 septembre 2013
    1h00

Nuit blanche 2013: Bernard Falaise solo

Sukha Yoga Centre
42 Wyndham Street North, Unit 101C — Guelph

Dossier de presse

Guelph Jazz Festival

Par Ken Waxman in Jazz Word (Canada), 14 octobre 2013
… the ensemble interpreted unique music…

New combination and new conceptions, sporadically sprinkled with touches of exotica, characterized the 20th anniversary edition of the Guelph Jazz Festival (GJF) September 4-8. Affiliated with a contiguous academic Colloquium on improvisation, the GJF, located in a small university city, fewer than 100 kilometres west of Toronto, has from its beginning stretched the definition of “jazz”, while avoiding populist pandering. The approach obviously works well, with the GJF slowly expanding. On Saturday, afternoon and evening free outdoor concerts now take place in front of city hall; the free, dusk-to-dawn Nuit Blanche offers intimates performances in non-traditional downtown spaces. Plus a full schedule of workshops and formal concerts unrolls each day. (…)

Another Québécois who produces inimitable textures is guitarist Bernard Falaise, whose solo program of crunching runs, repetative loops and banshee-screaming string distortions alienated or mesmerized a floor seated audience at the Sukha Yoga Centre. Astringent and oscillating and propelled by an e-bow, violin-bow, foot pedals and preparations, the results at points suggested a jam between Buck Owens and Stockhausen, and fittingly he replicated a rooster`s crow near the end of this 2 AM performance.

In a completely different setting, Falaise was a member of Ensemble SuperMusique, which played one afternoon in the austere, light-filled Guelph Youth Music Centre. Its roistering and raunchy program included one piece — Tréfle (“Clover” in English) — composed by the guitarist. Consisting of a dozen stalwarts of the Montréal improv scene — including inventive bass clarinetist Lori Freedman and solidly subtle bassist Nicolas Caloia who created a challenging quick-witted set of chamber-improv at the yoga centre preceding Falaise — the ensemble interpreted unique music, including leader/saxophonist/vocalist Joane Hétu’s Pour ne pas désespérer seul (“Not to Despair Alone”) dedicated to the anti-globalization movement. Paramountly group music, the dynamic parameters of the composition are wide enough to involve most of the players in propelling the aggressive march tempo with encouraging chants from percussionist Danielle Palardy Roger and saxophonist/flautist Jean Derome. Derome’s own Plate-forme électorale is similarly rousing, underlined by song-snatches and crashing metallic friction sourced from David Lafrance’s turntables. Interpolating snatches of so-called ethnic melodies, the piece left space for the composer’s bass flute lowing, exciting string-stopping from fiddler Josh Zubot, distorted rock hero licks from Falaise and a drollop of big band swing featuring trumpeter Némo Venba. (…)

Review

Par Ken Waxman in The New York City Jazz Record (ÉU), 1 octobre 2013
Paramountly group music, the parameters of that composition were wide enough to involve all the players in propelling the aggressive march tempo instrumentally and vocally.

Another Québécois who produces inimitable textures is guitarist Bernard Falaise. His solo program of crunching runs, repetitive loops and banshee- screaming string distortions alienated or mesmerized a floor-seated audience at the Sukha Yoga Centre. Astringent, oscillating and propelled by an e-bow, violin-bow, foot pedals and preparations, the results at points suggested a jam between Buck Owens and Stockhausen and fittingly he replicated a rooster’s crowing near the end of this 2 am performance. Falaise is also a member of Ensemble SuperMusique, which played one afternoon in the light-filled Guelph Youth Music Centre. A dozen stalwarts of Montréal’s improv scene — including inventive clarinetist Lori Freedman and sturdy bassist Nicolas Caloïa, who as a duo created a quick-witted set of chamber-improv at the yoga center — the ensemble interpreted unique compositions, including saxophonist/vocalist Joane Hétu’s Pour ne pas désespérer seul, dedicated to the anti-globalization movement. Paramountly group music, the parameters of that composition were wide enough to involve all the players in propelling the aggressive march tempo instrumentally and vocally. Saxophonist/flautist Jean Derome’s Plate-Forme was similarly rousing, underlined by crashing metallic friction sourced from David Lafrance’s turntables and interpolating snatches bass flute lowing, exciting string-stropping from fiddler Josh Zubot, distorted rock-hero licks from Falaise and a dollop of big band swing.