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19 May 2012
By François Couture in Monsieur Délire (Québec), May 19, 2012

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“A very fine project that deserves to record at least twice: one album of originals and one album of covers. Any takers?”

[Translation] Great Québécois musique actuelle from yesterday (pieces by Lussier, Derome, and Guilbeault) and today (Jean René’s original compositions). Whimsy, humour, tenderness, group playing. A very fine project that deserves to record at least twice: one album of originals and one album of covers. Any takers?

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18 May 2012
By Michele Coralli in Altremusiche (Italy), May 18, 2012

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Musica sghemba per un trio dinocolato basso/chitarra/batteria, che per un’abbondante mezz’ora divaga senza possibili direzioni all’interno di un mondo sonoro abbastanza chiuso e claustrofobico. I tre negano dinamiche, fraseggi, strutture e disegni ritmico-melodici. C’è un continuo ripiegarsi su se stessi attorno a pseudo-pattern apparentemente casuali, che prendono il volo come un uccello chiuso in una stanza, le cui traiettorie rimbalzano da un punto all’altro senza conclusione. La chitarra di Sam Shalabi, sorda e monocromatica, è forse la maggior responsabile di questo “impaccio” linguistico. Da parte sua anche il basso di Alexandre St-Onge, cupo e azzerato nella determinazione di altezze facilmente identificabili, dà il suo contributo all’ottusità del panorama. Forse è proprio Michel F Côté a dare profondità di campo attraverso un drumming sempre molto ricercato, a-virtuosistico e per questo decisamente puntuale e azzeccato.

Jane and the Magic Bananas è una buona metafora sonora della realtà di oggi, chiusa in se stessa da competenze così straordinarie, da risultare inutili. Certamente competenze che non vengono messe in campo, ma nemmeno evocate. Il groviglio di suoni che conduce direttamente a uno sgabuzzino sembra un nuovo messaggio Fluxus, lanciato per dire a chi può entrare in contatto con questa musica che in certi momenti si può abbandonare tutto, per cercare davvero il senso del perché facciamo arte o del perché non possiamo farne a meno.

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3 May 2012
By Lawrence Joseph in Montreal Mirror (Québec), May 3, 2012

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“Far from formulaic, there are composers’ minds at work here, with gratingly engaging foreground phenomena emerging from background drones, concerto style. 8.5/10”

What happens when two classically trained musicians forego their customary instruments and get noisy? Martel’s viola da gamba is exchanged for static of unspecified origins, and Lauzier’s bass clarinet and sax are prepared and amplified to the point of feedback. Similarly, Tetreault forgoes LPs and focuses on the in-bred sound of his turntables’ motors and needle pick-ups. Far from formulaic, there are composers’ minds at work here, with gratingly engaging foreground phenomena emerging from background drones, concerto style. 8.5/10

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3 May 2012
By François Couture in Monsieur Délire (Québec), May 3, 2012

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“And after all, Evan Parker has released very few titles on Québécois labels, so I’m glad we have this one.”

[Translation] For the 2011 edition of Rencontres de musiques spontanées, the Grand groupe d’improvisation régionale libérée had invited none other than the great improvising saxophonist Evan Parker. Vivaces documents the concert that came out of their collaboration. Three improvisations: a free one, one conducted by Parker, and a final one conducted by Raphaël Arsenault. I can’t help but think of the London Improvisers Orchestra when I hear this sound mass (11 Rimouski-based musicians, plus Parker and trombonist Scott Thomson) unfold, react, and interact. The ambient sound capture is not perfect, but it’s okay enough. And after all, Evan Parker has released very few titles on Québécois labels, so I’m glad we have this one.

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2 May 2012
By François Couture in Monsieur Délire (Québec), May 2, 2012

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“Great level of interaction between musicians, and there’s something magic going on between them and the score. A demanding but highly satisfying listen. Bravo.”

[Translation] The Italian microlabel Setola di Maiale just released an excellent (yes, excellent) record by Rimouski-based bassist Éric Normand. In October 2009, Normand assembled a stellar quintet to record three of his own compositions and an original rereading of John Tchicai’s Fields, Cows and Flowers. He is surrounded by Jean Derome, Michel F Côté, James Darling (cello) and Antoine Létourneau-Berger (vibes and cymbals). On Sur un fil, Normand deploys Spartan and enlightened compositional skills, and his score leaves plenty of room for all instrumentalists to showcase their extended techniques. Great level of interaction between musicians, and there’s something magic going on between them and the score. A demanding but highly satisfying listen. Bravo.

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20 April 2012
By Luc Bouquet in Le son du grisli (France), April 20, 2012

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“Oui, le jazz passe, aujourd’hui, un petit peu du côté de Jean Derome et de ses amis. L’alto est aiguisé, la contrebasse n’est pas d’appoint mais de rigueur et d’inspiration, la batterie foudroie le swing et extraie de la matrice rythmique mille infinis.”

Ce n’est pas pour rien que le Trio Derome Guilbeault Tanguay réinitialise quelques-uns des thèmes de Kirk ou Dolphy. Comme ces deux derniers, isolés et incompris de la jazzosphère en leur temps, Jean Derome, Normand Guilbeault et Pierre Tanguay ne trouvent guère d’admirateurs, aujourd’hui, pour louer leur jazz vif et tranchant. Un jazz décalé, hors mode (les thèmes composés pour le baryton ne sont pas sans évoquer un autre outlaw du jazz: Charles Tyler) et puisant dans la périphérie ses ressorts harmoniques.

En ce sens, à mille lieux des tristes poseurs faisant les choux gras de la presse spécialisée officielle. Oui, le jazz passe, aujourd’hui, un petit peu du côté de Jean Derome et de ses amis. L’alto est aiguisé, la contrebasse n’est pas d’appoint mais de rigueur et d’inspiration, la batterie foudroie le swing et extraie de la matrice rythmique mille infinis. L’aventure continue pour le Trio Derome Guilbeaut Tanguay. Puissent-ils, enfin, être entendus.

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