Coupure 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. (…)