Coupure de presse

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.