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Quartetski Does Prokofiev • residence: Montréal, Québec Gordon Allen • Isaiah Ceccarelli • Philippe Lauzier • Pierre-Yves Martel
Articles about Quartetski Does ProkofievRecord reviews are found in the pages for each disc (via the “discography” tab).
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Visionary playing from Quartetskiby Kate Molleson in The Gazette (Québec), March 31, 2008 |3513|
“Quartetski is made up of four seriously creative
improvisers […] whose experimenting is as considerate as it is far-flung.”
At the height of the First World War, as the Russian Revolution loomed and Europe’s musical traditions erupted, Sergei Prokofiev wrote a set of 20 miniature piano pieces called Visions fugitives. Each is only about a minute long; they’re tiny, fleeting glimpses of texture and character. Some are dark, some are dulcet, many have a touch of the burlesque. Local jazz-improv group Quartetski does Prokofiev use these miniatures to conjure visions of their own. They play Prokofiev’s music (as orchestrated by bassist Pierre-Yves Martel) then, in a vocabulary that’s dreamy and fearless and tangibly inspired by Prokofiev, they improvise. This is a daring and unusual project — daring because it transcends genre boundaries, unusual because it does so without becoming tacky. Quartetski is made up of four seriously creative improvisers (Martel on bass, Gordon Allen, trumpet, Philippe Lauzier, sax/bass clarinet, and Isaiah Ceccarelli, drums) whose experimenting is as considerate as it is far-flung. And the arrangements themselves are artfully orchestrated, which isn’t surprising given Martel’s mongrel pedigree: as well as being a leader of Montreal’s musique actuelle scene, he plays viola de gamba with the Studio de musique ancienne de Montréal and Constantinople, and double bass with several orchestras. Such successful genre-hopping is feasible because he’s technically versatile, and, moreover, an extremely intelligent musician. Diversity is a powerful resource. Quartetski played at Upstairs on Friday and Saturday, which, considering the cerebral and unamplified nature of the music, was an admirable piece of programming by the jazz bar. Both nights finished with work from Quartetski’s impending album of Duke Ellington tunes — again, beautifully orchestrated and explored. Despite the differences between Prokofiev and Ellington, there’s a sound that’s unmistakably Martel’s. Look out for that CD release when it comes — something along the lines of ‘Quartetski does Ellington,’ I believe…
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Quartetski Does Prokofiev (very well)by Adam Kinner in The Gazette (Québec), December 9, 2007 |3435| When I try to explain to non-musicians why I like improvised music I always settle for something like: “well, if you saw a really great improvised music show, you would like it too.” Not very convincing, perhaps, but I find it’s the only way. You have to experience the excitement and intensity of great improvisation before you can come to appreciate it. And great improvising - as numerous first-hand experiences have proved - is rare. I don’t mean great jazz playing, or a great tenor solo at Biddles - I mean the kind of improvisation that makes you tingle all over and run home through the snow without your gloves on. Quartetski’s show at Sala Rossa on Wednesday night was one of those rare nights that has the capability to win over an audience for improvised music. The four musicians, trumpeter Gordon Allen, saxophonist Philippe Lauzier, drummer Isaiah Ceccarelli, and bassist and arranger Pierre-Yves Martel, came together to make music that spoke effortlessly for itself. Pierre-Yves Martel, the leader of the ensemble, arranged Sergei Prokofiev’s Visions Fugitives Op. 22 for jazz quartet. The piece, written by the Russian master in 1917, has a fair amount inspiration in it to begin with. Prokofiev’s piece is at once lyrical and playful, upbeat and pensive, patient and nervous. But the extent to which this show is correctly called an “improvised music” show is the extent to which Martel and his Quartetski changed the piece, opened it up for improvised interpretation, and made it come alive. Exactly how much of what they played was Prokofiev, how much was Martel, and how much was each individual improviser was hard to tell, and for that reason, it was perfect. The 1917 piece becomes a perfect forum for modern improvisation, both giving to it and taking from it. It doesn’t hurt that Martel and his group are all accomplished improvisers. Martel has to be one of the most interesting improvisers I’ve seen. His big meaty tone rang perfectly in the usually acoustically unsatisfying room, and his clear execution (on the most physically demanding instrument in music) served his inventive ideas. Watching him improvise is remarkably exciting, like the unfolding of a spellbinding story. Ceccarelli’s drumming is playful, tasteful, and understated, with none of the bombast that can ruin a nice improvised piece. Instead, he favours the hand bells, cymbal combinations, and the rubbing of a stick-end on the snare drum - nearly inaudible, but the perfect gesture for the moment. Lauzier and Allen added a nice top-end. Beautiful tones, lots of quirky extended techniques (musical squeaks and pops) and a clear comfort with the material that rounded the group as a cohesive quartet. They record for a CBC broadcast on Saturday, and their record is now available on the Ambiances Magnétiques label. From what I’ve heard, it sounds even better on record.
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Quartetski Does Prokofiev: un groupe aux sons improvisésby Kristina Brazeau in L'Express d'Ottawa (Canada), December 4, 2007 |3431| Quartetski Does Prokofiev, composé du contrebassiste Pierre-Yves Martel, du saxophoniste et clarinettiste Philippe Lauzier, du trompettiste Gordon Allen et du batteur Isaiah Ceccarelli, donne dans l’improvisation pour leur premier album. Ceux-ci lanceront bientôt Visions fugitives op.22, qui est en fait un hommage irrévérencieux à Sergei Prokofiev. Par irrévérencieux, Pierre-Yves Martel entend «qu’on (le groupe) s’éloigne de l’approche traditionnelle en musique classique, soit d’essayer d’interpréter une pièce afin qu’elle soit présentée dans sa forme “pure”. Il n’y a pas d’objectivité dans notre projet. C’est vraiment une recherche subjective par laquelle nous nous approprions l’œuvre du compositeur afin d’en faire la nôtre.» Dans cette optique, leur disque comporte des airs de jazz et de musique improvisée. «Ce genre de musique comporte une volonté de s’éloigner des règles et des traditions», explique-t-il. Celui qui a étudié en musique classique et en composition à l’Université d’Ottawa, joue toujours au sein de l’Orchestre Symphonique d’Ottawa et du Centre national des arts ainsi que du Quintette Mont-Royal. Le musicien, qui a appris à l’oreille, penche toutefois vers la musique improvisée. «J’ai commencé très jeune à improviser. J’ai commencé à lire la musique à la fin de mon adolescence, avant je jouais à l’oreille, je m’amusais à faire des sons et à improviser des mélodies. Je me sens plus à l’aise lorsque je n’ai pas de musique devant les yeux. J’ai l’impression de jouer, comme un enfant, sans règles et sans structure établie, je peux faire ce que je veux!» Le groupe lancera son album, mercredi, à la Sala Rossa, à Montréal, ainsi qu’à Ottawa, le 8 décembre. Le concert sera d’ailleurs enregistré par CBC Radio One et sera diffusé à travers le pays. Le groupe envisage aussi de faire une tournée au Canada ainsi qu’en Europe, en 2008. Pierre-Yves Martel signe les arrangements de l’album. Le groupe a d’ailleurs été en prestation à l’OFF Festival de jazz de Montréal, en juin dernier, et a remporté le Prix François-Marcaurelle, décerné à une formation s’étant particulièrement distinguée lors des concerts.Pierre-Yves Martel a aussi un album solo à son actif, intitulé Engagements & Confrontation. Il sera en spectacle à Terre-Neuve en juillet prochain et en Norvège, en novembre 2009.Quartetski Does Prokofiev sera à la Salle Freiman de l’Université d’Ottawa, le 8 décembre à 20 h. actuellecd.com Quartetski Does Prokofiev: press |
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