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    <title>actuellecd.com - Headlines</title>
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    <description>actuellecd.com - Headlines</description>
    <language>en-ca</language>
    <pubDate>2012-02-11T00:00:00-06:00</pubDate>
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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4611</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4611</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-02-07T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/victo_120/" title="Envoi"><img src="http://www.electrocd.com/res/image.php/couv/victo_120.jpg?width=160" class="catimg" alt="Envoi" title="Bill Dixon: Envoi" /></a>
                      
                      
                      
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    By Guillaume Belhomme

    
      <i>in</i> <a class="out" href="http://grisli.canalblog.com/">Le son du grisli</a> (France), February 7, 2012
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “[…] l’ouvrage de tra&icirc;ne est captivant, que rehausse en plus les incursions qu’y taille la clarinette contrebasse de <span class="ind">C&ocirc;t&eacute;</span>.”
            
          
        
          
            <p>Un mois avant de dispara&icirc;tre, <span class="ind">Bill Dixon</span> emmenait un nonette &agrave; Victoriaville, et donnait son dernier concert. &Agrave; ses c&ocirc;t&eacute;s, les musiciens d&eacute;j&agrave; pr&eacute;sents sur <span class="t">Tapestries for Small Orchestra</span>: <span class="ind">Taylor Ho Bynum</span>, <span class="ind">Stephan Haynes</span>, <span class="ind">Rob Mazurek</span>, <span class="ind">Graham Haynes</span> et <span class="ind">Michel C&ocirc;t&eacute;</span>, <span class="ind">Glynis Loman</span>, <span class="ind">Ken Filiano</span> et <span class="ind">Warren Smith</span>. En deux temps, <span class="w">Envoi</span> arrange des parall&egrave;les et provoque quelques perturbations qui interrogent leur r&eacute;sistance: l’ouvrage de tra&icirc;ne est captivant, que rehausse en plus les incursions qu’y taille la clarinette contrebasse de <span class="ind">C&ocirc;t&eacute;</span>.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>2011 Monsieur Délire Top 30</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=nouv-9831</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=nouv-9831</guid>
      <author>web@electrocd.com</author>
      <category>General</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/am_207/" title="Teoria dell’elasticit&agrave; di Girolamo Papariello"><img src="http://www.electrocd.com/res/image.php/couv/am_207.jpg?width=160" class="catimg" alt="Teoria dell’elasticit&agrave; di Girolamo Papariello" title="Mecha Fixes Clocks: Teoria dell’elasticit&agrave; di Girolamo Papariello" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_208/" title="Filature"><img src="http://www.electrocd.com/res/image.php/couv/am_208.jpg?width=160" class="catimg" alt="Filature" title="Joane H&eacute;tu: Filature" /></a>
                      
                      
                      
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        <p><span class="t">Monsieur D&eacute;lire</span> announced the Top 30 of its Demanding Music list which includes <a href="http://www.actuellecd.com/en/cat/am_207/" class="cat"  class="t">Teoria dell’elasticit&agrave; di Girolamo Papariello</a> by <a href="http://www.actuellecd.com/en/bio/cote_mi/discog/" class="bio" class="ind">Michel F C&ocirc;t&eacute;</a> and <a href="http://www.actuellecd.com/en/cat/am_208/" class="cat"  class="t">Filature</a> by <a href="http://www.actuellecd.com/en/bio/hetu_jo/discog/" class="bio" class="ind">Joane H&eacute;tu</a>.</p>
      
    
  

  
  
  
  
  
  
  
    
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                <a class="out" href="http://blog.monsieurdelire.com/2012/01/le-top-30-des-musiques-exigeantes-2011.html">Detailed information</a>
                at blog.monsieurdelire.com
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Teoria dell’elasticit&agrave; di Girolamo Papariello</a>
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Filature</a>
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      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4608</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4608</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/br_322/" title="Year of the Boar"><img src="http://www.electrocd.com/res/image.php/couv/br_322.jpg?width=160" class="catimg" alt="Year of the Boar" title="AIMToronto Orchestra: Year of the Boar" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2012/02/2012-02-01-rampersaudshawmartinnealkrak.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), February 1, 2012
    
  

  

  
    
      
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              “A strong record, both in terms of composition and interpretation. Recommended.”
            
          
        
          
            <p> [Translation] Assembled for a visit of <span class="ind">Anthony Braxton</span> in Toronto, the Association of Improvising Musicians — Toronto’s <span class="ind">AIMToronto Orchestra</span> has continued to evolve and is now releasing its first studio album. The orchestra is a 17-piece of almost exclusively acoustic instruments. The album features seven compositions by some of its members: <span class="ind">Justin Haynes</span>, <span class="ind">Kyle Brenders</span>, <span class="ind">Joe Sorbara</span>, and <span class="ind">Germaine Liu</span>. <span class="ind">Brenders</span>’ three pieces are long, methodical and often minimal — successful experimentations with the orchestra’s possibilities. Haynes’ two tracks are shorter, more whimsical and twisted, reminiscent of <span class="ind">Ren&eacute; Lussier</span>’s writing style. A strong record, both in terms of composition and interpretation. Recommended.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4609</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4609</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/br_323/" title="Halcyon Science 130410"><img src="http://www.electrocd.com/res/image.php/couv/br_323.jpg?width=160" class="catimg" alt="Halcyon Science 130410" title="Tomasz Krakowiak, Jean Martin, Wes Neal, Nicole Rampersaud, Evan Shaw: Halcyon Science 130410" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2012/02/2012-02-01-rampersaudshawmartinnealkrak.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), February 1, 2012
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Serious music, though not scholar; demanding music that never sounds forced”
            
          
        
          
            <p> [Translation] A strong free improvisation concert recorded in April 2010 in Toronto. Very fine interplay between <span class="ind">Rampersaud</span>’s trumpet and <span class="ind">Evan Shaw</span>’s saxophone — you could easily believe some of their lines were pre-written. The work of Polish percussionist <span class="ind">Tomasz Krakowiak</span> remains mysterious, his very subtle textures blending in with the other sounds. Serious music, though not scholar; demanding music that never sounds forced.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4606</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4606</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-01-30T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/br_321/" title="At Somewhere There"><img src="http://www.electrocd.com/res/image.php/couv/br_321.jpg?width=160" class="catimg" alt="At Somewhere There" title="Wes Neal, Evan Parker, Joe Sorbara: At Somewhere There" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2012/01/2012-01-30-brunborghuke-michael-neff.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), January 30, 2012
    
  

  

  
    
      
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              “A 40-minute session displaying a fine intensity and a few surprises, like the short appearance of a daxophone”
            
          
        
          
            <p> [Translation] <span class="ind">Evan Parker</span> is very strong in one-shot free improvisation meetings. <span class="t">At Somewhere There</span> features him live in Toronto with local musicians <span class="ind">Wes Neal</span> (bass) and <span class="ind">Joe Sorbara</span> (percussion). A 40-minute session displaying a fine intensity and a few surprises, like the short appearance of a daxophone if I’m not mistaken.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: D’Harmo by D’Harmo</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20120127</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20120127</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2012-01-27T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/dh_01/" title="D’Harmo"><img src="http://www.electrocd.com/res/image.php/couv/dh_01.jpg?width=160" class="catimg" alt="D’Harmo" title="D’Harmo: D’Harmo" /></a>
                      
                      
                      
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      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/dh_01/" class="cat" class="t">D’Harmo</a>
      by <a href="http://www.actuellecd.com/en/bio/dharmo_/" class="bio" class="ind">D’Harmo</a>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
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D’Harmo</a>
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      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4605</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4605</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-01-25T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/et_15/" title="Solitary Pleasures"><img src="http://www.electrocd.com/res/image.php/couv/et_15.jpg?width=160" class="catimg" alt="Solitary Pleasures" title="Fortner Anderson: Solitary Pleasures" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2012/01/2012-01-25-fortner-anderon-henrik.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), January 25, 2012
    
  

  

  
    
      
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              “A nice recording with poet <span class="ind">Fortner Anderson</span> reciting and inhabiting his poems”
            
          
        
          
            <p> [Translation] A nice recording made at Studio 270 with poet <span class="ind">Fortner Anderson</span> reciting and inhabiting his poems (presented as excerpts from a diary), backed by improvisers <span class="ind">Michel F C&ocirc;t&eacute;</span>, <span class="ind">Alexandre St-Onge</span>, and <span class="ind">San Shalabi</span> — almost <span class="ind">Klaxon Gueule</span>. Dark texts and creaking music.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4603</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4603</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-01-16T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/br_326/" title="At Christ Church Deer Park"><img src="http://www.electrocd.com/res/image.php/couv/br_326.jpg?width=160" class="catimg" alt="At Christ Church Deer Park" title="The Element Choir, William Parker: At Christ Church Deer Park" /></a>
                      
                      
                      
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    By Kurt Gottschalk

    
      <i>in</i> <a class="out" href="http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1401">The Squid’s Ear</a> (USA), January 16, 2012
    
  

  

  
    
      
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              “There are moments of splendor just as there are moments of searching for that splendor. At their heights, <span class="ind">Duncan</span>, choir and instrumentalists find a unique beauty.”
            
          
        
          
            <p><span class="ind">Christine Duncan</span> has been working her <span class="ind">Element Choir</span> up in Toronto for a few years now, taking a large group of professional and amateur singers and rehearsing them in spontaneous composition. Allusion to <span class="ind">Butch Morris</span>’s conducted improvisations would not be off the mark, but she of course has own aesthetic and style. Beyond procedural similarities, however, both <span class="ind">Duncan</span> and <span class="ind">Morris</span> are drawn toward sounds which might be labeled “classical” or even “sacred” more than the jazz tradition which if nothing else arises in each of their choices in personnel. This is made plain in <span class="ind">Duncan</span>’s case on her most recent recording with bassist <span class="ind">William Parker</span>, who appears as a sort of featured soloist alongside her usual accompanists (trumpeter <span class="ind">Jim Lewis</span>, bassist <span class="ind">Andrew Downing</span> and drummer <span class="ind">Jean Martin</span>), all part of the Toronto jazz scene.</p> <p>Taken together the musicians and singers (some 70 names are listed on the liner notes to <span class="t">At Christ Church Deer Park</span>) could be parsed in a variety of ways. At times they could be heard as a setting of sacred against secular — the cover photo depicting an angelic chalk drawing on a city street affirming that depiction — with organist <span class="ind">Eric Robinson</span> joining the chorus in a showdown against the profane jazz band. They could be heard — as they seemed during their appearance at the 2011 Guelph Jazz Festival in Ontario — as a grand quintet with <span class="ind">Duncan</span>’s control over her singers being so tight they could be counted as a single member. Perhaps that count was the result of bearing personal witness, or due to the particularities of the performance or the embellishments of memory but in the one, 42-minute track on Deer Park they are willfully far too amorphous to count as a quintet or slice into any number of even pieces. There are certainly moments of jazz band and church choir, there are passages for soloists and there are surprising sections that come off as crowd scenes (chaotic, choreographed or Berio-esque). There are moments of splendor just as there are moments of searching for that splendor. At their heights, <span class="ind">Duncan</span>, choir and instrumentalists find a unique beauty.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4602</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4602</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2012-01-12T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/oral_40/" title="Points, lignes avec haut-parleurs"><img src="http://www.electrocd.com/res/image.php/couv/oral_40.jpg?width=160" class="catimg" alt="Points, lignes avec haut-parleurs" title="Quatuor de tourne-disques: Points, lignes avec haut-parleurs" /></a>
                      
                      
                      
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    By R&eacute;jean Beaucage

    
      <i>in</i> <a class="out" href="http://www.voir.ca/fiches/cd/martin-tetreault-le-quatuor-de-tourne-disques-points-lignes-avec-haut-parleurs/">Voir</a> (Qu&eacute;bec), January 12, 2012
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Il s’agit d’un aboutissement pour ce type d’exploration”
            
          
        
          
            <p>Le platiniste <span class="ind">Martin T&eacute;treault</span> dirige et compose pour son <span class="ind">Quatuor de tourne-disques</span> depuis 2004, et on a pu le voir &agrave; quelques reprises &agrave; Montr&eacute;al depuis 2007, avec des membres qui varient selon les occasions. Il s’agit d’un aboutissement pour ce type d’exploration (mais, qui sait, le grand orchestre de tourne-disques pourrait bien surgir). &Agrave; cent lieues de la «citation», les deux pieds dans l’abstrait, ces tourne-disques se suffisent &agrave; eux-m&ecirc;mes (pas de disques ici). &Eacute;tonnamment, si on l’&eacute;coute &agrave; faible volume, l’esp&egrave;ce de grisaille bruitiste que produit l’enregistrement peut &ecirc;tre assez reposante, ou ennuyante, c’est pourquoi il est sans doute pr&eacute;f&eacute;rable d’entendre cela en concert, avec assez de volume pour ressentir le cœur du son. (3/5)</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrivals</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20120102</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20120102</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2012-01-02T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/nuun_008/" title="The Dunrobin Session"><img src="http://www.electrocd.com/res/image.php/couv/nuun_008.jpg?width=160" class="catimg" alt="The Dunrobin Session" title="Pauline Oliveros, Jesse Stewart: The Dunrobin Session" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/rc_90/" title="Revue & corrig&eacute;e #90"><img src="http://www.electrocd.com/res/image.php/couv/rc_90.jpg?width=160" class="catimg" alt="Revue & corrig&eacute;e #90" title="Various artists: Revue & corrig&eacute;e #90" /></a>
                      
                      
                      
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        We have added 2 items to our shop today:
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    <li>
      <a href="http://www.actuellecd.com/en/cat/nuun_008/" class="cat" class="t">The Dunrobin Session</a>
      by <a href="http://www.actuellecd.com/en/bio/oliveros_pa/" class="bio" class="ind">Pauline Oliveros</a>, <a href="http://www.actuellecd.com/en/bio/stewart_je/discog/" class="bio" class="ind">Jesse Stewart</a>
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    <li>
      <a href="http://www.actuellecd.com/en/cat/rc_90/" class="cat" class="t">Revue & corrig&eacute;e #90</a>
      by Various artists
    </li>
    
    
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        We invite you to check them out!
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4599</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4599</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-12-26T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/et_14/" title="La Formule Xyz"><img src="http://www.electrocd.com/res/image.php/couv/et_14.jpg?width=160" class="catimg" alt="La Formule Xyz" title="Xyz: La Formule Xyz" /></a>
                      
                      
                      
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    By Frans de Waard

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/812.html">Vital</a> #812 (Netherlands), December 26, 2011
    
  

  

  
    
      
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              “An excellent release of fine noise.”
            
          
        
          
            <p>At cross-roads. That’s what comes to mind when listening to the trio disc of <span class="ind">Pierre Yves Martel</span>, <span class="ind">Philippe Lauzier</span> and <span class="ind">Martin Tetreault</span>. No instruments are listed on the cover, but let’s assume it’s a turntable and an assorted range of acoustic instruments and electronic sound generators. They are used to play improvised music, and so far nothing new. But the end-result is quite interesting: its as if these three men are attempting at something that is more noise based than is common in these circles. At a cross-road of improvised music and noise. Obviously not a HNW release but in a true experimental fashion a disc of intelligent noise. It seems all recorded straight to tape, with microphones picking up very closely the sounds that are produced, which makes this pretty ’in y’r face’ release, perhaps with the exception of <span class="w">y = cZ + d</span>, which sounds a bit distant. Things work best when all sound sources are used on an equal level, acoustic and electronic sounds colliding together in an infinite mixture of possibilities. An excellent release of fine noise.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4600</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4600</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-12-26T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/et_15/" title="Solitary Pleasures"><img src="http://www.electrocd.com/res/image.php/couv/et_15.jpg?width=160" class="catimg" alt="Solitary Pleasures" title="Fortner Anderson: Solitary Pleasures" /></a>
                      
                      
                      
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    By Frans de Waard

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/812.html">Vital</a> #812 (Netherlands), December 26, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “The voice is the same throughout and the music is all highly freely improvised.”
            
          
        
          
            <p>Some entirely different is the music of <span class="ind">Fortner Anderson</span>, although its better to say the poetry and a bit of music of the person in question. We have reviewed his work before. Here a work of thirty-five short pieces, like a diary. Each piece starts with a date introduction and something about that date, along with improvised music of <span class="ind">Michel F C&ocirc;t&eacute;</span>, <span class="ind">Sam Shalabi</span> and <span class="ind">Alexandre St-Onge</span> on drums, guitar and electronics. Unlike <span class="t">Six Silk Purses: The Poems Of Fortner Anderson</span>, this has however less variation in the execution. The voice is the same throughout and the music is all highly freely improvised. Some of these poems are quite nice, or even funny and sometimes sad (about a friend on chemo) but I wonder if I rather read the book (which is apparently also available, but I didn’t see it) and hear the music separately, but perhaps I am just not that much a poetry kind of guy. Or a CD single would be more in place and not one that lasts forty-eight minutes.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Jazz &amp; Improv</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4598</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4598</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-12-21T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/victo_120/" title="Envoi"><img src="http://www.electrocd.com/res/image.php/couv/victo_120.jpg?width=160" class="catimg" alt="Envoi" title="Bill Dixon: Envoi" /></a>
                      
                      
                      
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    By Marc Medwin

    
      <i>in</i> <a class="out" href="http://www.paristransatlantic.com/magazine/monthly2011/12dec_text.html">Paris Transatlantic</a> (France), December 21, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “The recording is excellent, the playing superb all round, and the result is a fitting testament to the musical universe he created.”
            
          
        
          
            <p>“You’re sitting in a cab, maybe going over a contract, discussing mundane matters; you open the door, step out, and you’re confronted by the universe.” I can still hear <span class="ind">Bill Dixon</span>’s voice coming down the phone. It was a pivotal moment, because it was one of the few times he spoke of the emotive qualities underlying his music. It wasn’t that he was unwilling to discuss his work, far from it! He would fill extraordinary hours with the technical underpinnings of his unique compositional approach, but seemed unwilling to address directly the characteristics of his work that evoked matters of the spirit, those aspects of his vision that verbiage would not contain. And yet such concerns pervade every note he played and composed. <span class="t">Envoi</span> is, in one way, just another <span class="ind">Dixon</span> composition, but the fact that it is his last performance lays on the work the burden of summation. Recorded at the Victoriaville Festival in 2010 and using the same forces as on 2008’s <span class="t">Tapestries</span>, it does indeed look back while maintaining the autonomy expected from every <span class="ind">Dixon</span> performance.</p> <p>As is often the case, <span class="ind">Dixon</span>’s universe is a slowly expanding one. There are moments of white heat, such as the big bang and percussive roar that opens the piece, and in the final minutes, a monumental crescendo brings the whole work into sharp focus, as was the case with Seventeen Musicians in Search of a Sound: Darfur. Despite these bursts of catalytic energy, much of <span class="t">Envoi</span> exudes calm and reflection that I can only attribute to age and experience. Nowhere have <span class="ind">Dixon</span>’s characteristic intertwining melodies been so beautifully realized as they are here by trumpeters <span class="ind">Steven Haynes</span>, <span class="ind">Graham Haynes</span>, <span class="ind">Taylor Ho Bynum</span> and <span class="ind">Rob Mazurek</span>. Clarinetist <span class="ind">Michel C&ocirc;t&eacute;</span> adds to the sense of uhr-drone that has been so integral to <span class="ind">Dixon</span>’s music at least as far back as “A Quiet Feeling”, and <span class="ind">Warren Smith</span>’s tympani almost sound like another string instrument at times. Most surprising, though, are the pointillisms that keep the music moving, the sudden ring of a single pitch on vibraphone, or a strategically bowed attack from <span class="ind">Glynis Lomon</span>’s cello or <span class="ind">Ken Filiano</span>’s bass. <span class="ind">Dixon</span> was too ill to play on the performance, but I was not prepared for how perfect “Shrike” would be as an insert. A brief solo trumpet recording from the <span class="t">Odyssey</span> box set, it combines long tones with dots of sound, recreating <span class="t">Envoi</span>’s aesthetic in microcosm. It is the perfect point of transition, bringing <span class="ind">Dixon</span>’s past into a vibrant present. The recording is excellent, the playing superb all round, and the result is a fitting testament to the musical universe he created.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Solitary Pleasures by Fortner Anderson</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111215</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111215</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-12-15T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/en/cat/etpages_avril/" title="Solitary Pleasures"><img src="http://www.electrocd.com/res/image.php/couv/etpages_avril.jpg?width=160" class="catimg" alt="Solitary Pleasures" title="Fortner Anderson: Solitary Pleasures" /></a>
                      
                      
                      
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    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/etpages_avril/" class="cat" class="t">Solitary Pleasures</a>
      by <a href="http://www.actuellecd.com/en/bio/anderson_fo/discog/" class="bio" class="ind">Fortner Anderson</a>,
      
      
      the latest addition to our shop.
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      <title>Dec 8 to Jan 8: DAME’s Annual Christmas Sale</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=nouv-9827</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=nouv-9827</guid>
      <author>web@electrocd.com</author>
      <category>General</category>
      <pubDate>2011-12-08T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                  
                  
                    
  
    
      
        <p>The holiday season is back and to help celebrate it <span class="ind">DAME</span> offers you its yearly Christmas sale! From <span class="date">December 8, 2011</span> to <span class="date">January 8, 2012</span>, look for the red labels to find more than 80 titles with discounts ranging from 25% to 50% off!</p> <ul> <li><span >Browse the list of “Red label” items</span></li> </ul> <p></p>
      
    
  

  
  
  
  
  
  
  
    
  

  
    
    
    
      
        
  
        
          
        
      
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4586</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4586</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-12-01T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/en/cat/et_10/" title="Ave &lt;w&gt;"><img src="http://www.electrocd.com/res/image.php/couv/et_10.jpg?width=160" class="catimg" alt="Ave &lt;w&gt;" title="Tiari Kese: Ave &lt;w&gt;" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Dave Madden

    
      <i>in</i> <a class="out" href="http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1382">The Squid’s Ear</a> (USA), December 1, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Difficulties, delays and success: per usual, <span class="ind">C&ocirc;t&eacute;</span>’s imagination turns out all these things.”
            
          
        
          
            <p>There is a 99% chance that <span class="ind">Tiari Kese</span> is in fact <span class="ind">Michel F C&ocirc;t&eacute;</span>; but let’s run with the mythology, as it’s as wistful as the music.</p> <p><span class="ind">Kese</span>, a Bulgarian piano prodigy, began his career at age seventeen under the tutelage of <span class="ind">Stockhausen</span>, the latter composing a set of Klavierst&uuml;cke just for him — and that’s Kese posing as <span class="ind">Stockhausen</span> on the cover of <span class="t">Sgt. Peppers Lonely Hearts Club Band</span>. He later became a world-class interpreter of <span class="ind">Satie</span> and <span class="ind">John Cage</span> (<span class="ind">Cage</span> also wrote pieces specifically to be performed by <span class="ind">Kese</span>). However, he didn’t begin recording his works until meeting <span class="ind">C&ocirc;t&eacute;</span> who serves as a performer on, producer of <span class="t">Ave</span>.</p> <p>And he also plays the French horn!</p> <p>Fittingly, <span class="t">Ave</span> is a murky, organic concr&egrave;te based on shadows and slight of hand. <span class="ind">Kese</span>’s source materials consist of various room ambiences strung together with juxtaposition, piano and trumpet (performed by <span class="ind">Ellwood Epps</span>) that come in and out of focus (turn up the music during moments of seemingly inactive sound clouds and track fade-outs or you will miss something) and <span class="ind">C&ocirc;t&eacute;</span>’s shimmering electronics, his penchant for overdriven microphones and the occasional thump; the percussion is less frantic than some of <span class="ind">C&ocirc;t&eacute;</span>’s œuvre, but acute and intense like the sounds one would make while trying to claw out of a box. On the fourteen-minute opener (<span class="w">Unit Vector In Vratsa</span>), these elements weave together, <span class="ind">Kese</span>’s Debussy-esque planing (sic) and <span class="ind">C&ocirc;t&eacute;</span>’s mechanical piston sounds serving as signposts to tie the form together. <span class="w">&#x411;&#x43E;&#x439;&#x43A;&#x43E; &#x411;&#x43E;&#x440;&#x438;&#x441;&#x43E;&#x432;</span> is an intricate drone journey from light to bright to dark to midnight; the last word resembles the reverberation of a piano slam, though heard in slow motion. The hints of rudeness from the first work are exploited on <span class="w">Marge Brute Du  </span>: accompanying each piano note and chord is a slightly delayed, highly screeching burst of feedback to counter <span class="ind">Kese</span>’s tender procession; counterpoint ensues, a dry reversed series of notes and a fog you have to squint your ears to enjoy enter the fold, and the ostinato ends carried by the synthetic child of acoustic keyboard and feedback parents. From here, the pieces fold over in a palindromic fashion, culminating with <span class="w">Reichmann Sum For S</span>, a finale that pays homage to the opening theme, then filters it to the background to make room for a string quartet coda, everything eventually unraveling into a sighing, steamy hiss.</p> <p>From a horoscope blog: “A dream of playing the piano yourself predicts success in all your plans and hopes, unless the instrument was damaged or out of tune, in which case you can expect some difficulties and delays along the way. If you dreamed of hearing piano music beautifully played by someone else, it is a promise of better financial times ahead.”</p> <p>Difficulties, delays and success: per usual, <span class="ind">C&ocirc;t&eacute;</span>’s imagination turns out all these things.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Recensione</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4593</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4593</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-12-01T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/en/cat/victo_120/" title="Envoi"><img src="http://www.electrocd.com/res/image.php/couv/victo_120.jpg?width=160" class="catimg" alt="Envoi" title="Bill Dixon: Envoi" /></a>
                      
                      
                      
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    By Daniele Camerlengo

    
      <i>in</i> <a class="out" href="http://www.musicajazz.it/reviews/609">Musica Jazz</a> (Italy), December 1, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
        
          
            <p>L’ultimo intenso respiro di una grande figura musicale vissuta indebitamente nei bassifondi del mercato discografico d’elite. Un mese prima della sua scomparsa il trombettista <span class="ind">Bill Dixon</span> si &egrave; esibito all’ International Festival di Musique Actuelle di Victoriaville 2011, assieme a una impressionante formazione di ottoni. Lo scorrere musicale altalenante e dal possente impatto emotivo, diviso in due sezioni e con un breve epilogo, ripercorre le fasi creative della sua carriera, la sua tromba, come uno scandaglio dimensionale, ci fa rivivere le ricchezze e l’evoluzione del suo linguaggio sperimentale attraverso l’abbraccio avvolgente delle cangianti stratificazioni armoniche. La conduzione risalta la forza e la potenza dell’organico trombettistico di indubbio valore, sorretto a dovere dall’energica sezione ritmica composta da <span class="ind">Ken Filiano</span> e <span class="ind">Warren Smith</span>. Purtroppo i problemi di salute di Dixon si erano gi&agrave; manifestati, costringendolo a pre-registrare il solo. Emozionante il suo discorso debolmente sussurrato, ma saturo della sua profondit&agrave; d’animo… Bye Bill.</p>
          
        
  
        
          
        
      
    
    
    
  


                  
                
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      <title>New Arrival: À chacun sa miniature by Bozzini Quartet</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111130</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111130</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/en/cat/cqb_1113/" title="&Agrave; chacun sa miniature"><img src="http://www.electrocd.com/res/image.php/couv/cqb_1113.jpg?width=160" class="catimg" alt="&Agrave; chacun sa miniature" title="Bozzini Quartet: &Agrave; chacun sa miniature" /></a>
                      
                      
                      
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    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/cqb_1113/" class="cat" class="t">&Agrave; chacun sa miniature</a>
      by <a href="http://www.actuellecd.com/en/bio/quatuorbozzini_/discog/" class="bio" class="ind">Bozzini Quartet</a>,
      
      
      the latest addition to our shop.
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  <a href="http://www.actuellecd.com/en/radio/?poste=cat_cqb_1113" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
&Agrave; chacun sa miniature</a>
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4587</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4587</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/en/cat/br_322/" title="Year of the Boar"><img src="http://www.electrocd.com/res/image.php/couv/br_322.jpg?width=160" class="catimg" alt="Year of the Boar" title="AIMToronto Orchestra: Year of the Boar" /></a>
                      
                      
                      
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    By Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.jazzword.com/review/127635">Jazz Word</a> (Canada), November 30, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Both the OIO and AIMTO attempt particular sound variations to re-define — or perhaps it’s to define — the parameters of large improvising ensembles.”
            
          
        
          
            <p>Spurred by the world-wide conduction projects of <span class="ind">Butch Morris</span> and their results, improvising ensembles in Europe and North America have been organized to advance the concept of playing free music on a larger scale.</p> <p>Although there are notable orchestras in expected places such as London, New York and Berlin, often the most remarkable, and certainly the most original, large group interpretations come from bands in smaller centres. Working with a group of like-minded musicians in his hometown, for instance, British pianist/electronics manipulator <span class="ind">Pat Thomas</span> has composed dissimilar pieces for the <span class="ind">Oxford Improvisers Orchestra</span> (OIO) on this CD. Involving voices, non-Western instruments, a tribute to a Jazz master and a literal violin concerto, each moves in a different fashion. Toronto’s <span class="ind">AIM Toronto Orchestra</span> (AIMTO) on the other hand plays pieces by four different composers on its seven-track CD. However under the direction of artistic director/soprano saxophonist <span class="ind">Kyle Brenders</span>, who penned the two lengthiest pieces, a harmonic uniformity exists.</p> <p>Odd for someone who studied with <span class="ind">Anthony Braxton</span>, <span class="ind">Brenders</span> <span class="ind">AIM Toronto Orchestra</span> compositions, unlike his Jazz-inflected small group work, appear to avoid Jazz influences in favor of tropes from notated music and elsewhere. For example, a piece such as <span class="w">Thru and Through</span>, shoehorns wordless vocalizing from <span class="ind">Christine Duncan</span>, Scruggs-style banjo-picking from <span class="ind">Rob Clutton</span> into an exposition initially stated by quivering strings, harmonized woodwinds and stacked brass extrusions. Meanwhile tenor saxophonist <span class="ind">Christopher Willis</span> advances the theme as three percussions clank and clip alongside. With brief sequences parceled out among many orchestra members, it’s <span class="ind">Simeon Abbott</span>’s piano passages which mark important transitions, making room at different intervals for <span class="ind">Steve Ward</span>’s trombone guffaws, <span class="ind">Rob Pilonen</span>’s flute harmonies and <span class="ind">Nicole Rampersaud</span>’s trumpeting grace notes. As the often polyphonic work advances, it’s the restated solo variants which reference the initial narrative rather than showier tutti passages that impress.</p> <p>Similarly <span class="w">Follow Line Flow Line Follow</span> is built up from concentric orchestral timbres that foreshadow the contrapuntal divisions among the vocalist’s nonsense syllables plus swelling and vibrating slurs and pumps from the horns. Single variations involve bass clarinet lines, cymbal cracks, bell ringing and tough guitar scrubs, with a later combination finally modulating into a languid climax that trades previously inchoate hocketing and expanding runs for popped vibrations and near silences.</p> <p>Meanwhile the opening <span class="w">Year of the Boar</span> brings a Jazz sensibility to the proceedings. Yet ironically or not, its composer, guitarist <span class="ind">Justin Haynes</span>, isn’t featured on the disc. Operating off a steady vamp with heavy syncopation from dual drummers <span class="ind">Nick Fraser</span> and <span class="ind">Joe Sorbara</span>, the tune encompasses a swing section, and a lyrical alto solo from <span class="ind">Evan Shaw</span>. (…)</p> <p>Both the OIO and AIMTO attempt particular sound variations to re-define — or perhaps it’s to define — the parameters of large improvising ensembles. Although not everything tried is successful, the spirit of experimentation expressed by both will go far to make similar-sized groups viable as the shape of 21st Century music unfolds.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>En bref, quelques albums en journal d’écoute</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4588</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4588</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/et_15/" title="Solitary Pleasures"><img src="http://www.electrocd.com/res/image.php/couv/et_15.jpg?width=160" class="catimg" alt="Solitary Pleasures" title="Fortner Anderson: Solitary Pleasures" /></a>
                      
                      
                      
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    By Maxime Bouchard

    
      <i>in</i> <a class="out" href="http://notallthatjazz.wordpress.com/2011/11/30/en-bref-quelques-albums-en-journal-decoute/">Jazz &agrave; cr&eacute;dit</a> (Qu&eacute;bec), November 30, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “La voix est juste, pos&eacute;e, p&eacute;n&eacute;trante, la musique post-industrielle, r&ecirc;che… tr&egrave;s bon!”
            
          
        
          
            <p>Intrigante proposition que celle-l&agrave;. Du spoken-word, tr&egrave;s proche de la po&eacute;sie du quotidien, petites vignettes support&eacute;es par une orchestration simple de musique &eacute;lectronique et acoustique. La voix est juste, pos&eacute;e, p&eacute;n&eacute;trante, la musique post-industrielle, r&ecirc;che… tr&egrave;s bon!</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4581</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4581</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-29T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/tdb_9004/" title="Fl&eacute;chettes"><img src="http://www.electrocd.com/res/image.php/couv/tdb_9004.jpg?width=160" class="catimg" alt="Fl&eacute;chettes" title="Jean Derome, L&ecirc; Quan Ninh: Fl&eacute;chettes" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Guillaume Belhomme

    
      <i>in</i> <a class="out" href="http://grisli.canalblog.com/archives/2011/11/29/22840829.html">Le son du grisli</a> (France), November 29, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Les fl&eacute;chettes que d&eacute;cochent <span class="ind">Jean Derome</span> et <span class="ind">L&ecirc; Quan Ninh</span> d&eacute;livrent un poison qui saisit en un rien de temps.”
            
          
        
          
            <p>Les fl&eacute;chettes que d&eacute;cochent <span class="ind">Jean Derome</span> (fl&ucirc;te, saxophone alto, appeaux et petits instruments) et <span class="ind">L&ecirc; Quan Ninh</span> (grosse caisse environn&eacute;e) d&eacute;livrent un poison qui saisit en un rien de temps.</p> <p><span class="ind">Derome</span> avait pourtant pr&eacute;venu du danger: maugr&eacute;ant d’abord avant de se ranger &agrave; l’opinion vindicative de son partenaire: <span class="ind">L&ecirc; Quan Ninh</span> qui vitup&egrave;re, frappant fort ou faisant rugir sa grosse caisse &agrave; force de caresses multipli&eacute;es. Ce sont ainsi des r&acirc;les tenaces et des drones insistants que le percussionniste d&eacute;pose au second plan.</p> <p>Contraste: maintenant <span class="ind">Derome</span> siffle. &Agrave; l’alto, il d&eacute;fend une intensit&eacute; bruitiste qui annule et remplace la gentillesse de son usage des petits instruments, que les graves profonds de <span class="ind">Ninh</span> avalent de toute mani&egrave;re. &Agrave; la fl&ucirc;te, <span class="ind">Derome</span> &eacute;voque alors <span class="ind">Prokofiev</span> avant que sonne l’instant d’une autre saillie: sifflements, grognements que domptera un lot de baguettes s&egrave;ches. Le bois dont on fait les fl&eacute;chettes c&eacute;dera sous les effets de derniers tremblements. Le souvenir, ravissant, est d’engourdissement.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>New Arrival: Nos enfants by YUL</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111123</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111123</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-11-23T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_013/" title="Nos enfants"><img src="http://www.electrocd.com/res/image.php/couv/mam_013.jpg?width=160" class="catimg" alt="Nos enfants" title="YUL: Nos enfants" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  
    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/mam_013/" class="cat" class="t">Nos enfants</a>
      by <a href="http://www.actuellecd.com/en/bio/yul_/" class="bio" class="ind">YUL</a>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_mam_013">
  <a href="http://www.actuellecd.com/en/radio/?poste=cat_mam_013" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Nos enfants</a>
</li>


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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4579</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4579</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-22T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_208/" title="Filature"><img src="http://www.electrocd.com/res/image.php/couv/am_208.jpg?width=160" class="catimg" alt="Filature" title="Joane H&eacute;tu: Filature" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/11/2011-11-22-joane-hetu.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), November 22, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “A dense, synthetic work, though still accessible and showing its rock-in-opposition roots.”
            
          
        
          
            <p> [Translation] It took five years for <span class="t">Filature</span> to transit from stage to record. Meanwhile, <span class="ind">Joane H&eacute;tu</span>’s sound theatre has evolved toward much more stripped-down forms. On the path that has led <span class="ind">H&eacute;tu</span> from <span class="t">Musique d’hiver</span> to <span class="t">La Femme territoire</span>, <span class="t">Filature</span> represents a turning point, a crossroads where her past, present and future approaches have met. The piece integrates text, dance, and video art (the last two aspects are missing on the CD) — a path on which she would later travel much further — but it is based on the artist’s past life as a weaver. The text tells this experience, an experience that also provides the very structure of the work: <span class="w">Cha&icirc;ne</span>, a first movement performed only by the men (<span class="ind">Fabbro</span>, <span class="ind">Derome</span>, <span class="ind">Guilbeault</span>, <span class="ind">Tanguay</span>, <span class="ind">Venba</span>); <span class="w">Trame</span>, a second movement performed by the women (<span class="ind">Auclair</span>, <span class="ind">Gignac</span>, <span class="ind">H&eacute;tu</span>, <span class="ind">Labrosse</span>, <span class="ind">Roger</span>); and <span class="w">Motif</span>, a movement performed by all. The male component is metrical, repetitive, grounded; the female component is aerial, creative, whimsical; the final movement combines it all — and seems to bring together all of <span class="ind">H&eacute;tu</span>’s background, from <span class="ind">Wondeur Brass</span> and <span class="ind">Justine</span> to <span class="ind">Nous per&ccedil;ons les oreilles</span>, by way of <span class="t">Musique d’hiver</span>. A dense, synthetic work, though still accessible and showing its rock-in-opposition roots.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4577</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4577</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-18T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_015/" title="Lieux imagin&eacute;s"><img src="http://www.electrocd.com/res/image.php/couv/mam_015.jpg?width=160" class="catimg" alt="Lieux imagin&eacute;s" title="Cord&acirc;me: Lieux imagin&eacute;s" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Yves Bernard

    
      <i>in</i> <a class="out" href="http://www.ledevoir.com/culture/musique/336355/vitrine-du-disque-18-novembre-2011">Le Devoir</a> (Qu&eacute;bec), November 18, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Ainsi va la vie imagin&eacute;e. Preuve que les tableaux sonores n’ont pas besoin d’&ecirc;tre des portraits r&eacute;alistes. Et les r&ecirc;veries de <span class="ind">Cord&acirc;me</span> sont tr&egrave;s enveloppantes.”
            
          
        
          
            <p>Apr&egrave;s avoir fait para&icirc;tre deux disques avec des invit&eacute;s, les membres de ce trio &agrave; cordes reviennent &agrave; l’essence de leurs compositions: une musique livr&eacute;e avec contrebasse, violon, violoncelle, grande sensibilit&eacute; et lyrisme, &agrave; la crois&eacute;e du jazz, du classique et des musiques du monde, mais qui n’est ni l’un ni l’autre. Dans plusieurs pi&egrave;ces, le leader <span class="ind">Jean-Fran&ccedil;ois Mailloux</span> transmet son impression de villes qu’il n’a pas visit&eacute;es. Vancouver r&eacute;v&egrave;le sa douceur avant son intensit&eacute;. Madrid d&eacute;voile le d&eacute;chirement rythmique au bout des doigts. Madagascar est plus sautillante; Kisarazu, plus orientale; Buenos Aires, passionn&eacute;e mais adoucie; Santiago, doucement nostalgique; Veracruz, calme et non fr&eacute;n&eacute;tique; Riga, en respiration lente. Ainsi va la vie imagin&eacute;e. Preuve que les tableaux sonores n’ont pas besoin d’&ecirc;tre des portraits r&eacute;alistes. Et les r&ecirc;veries de <span class="ind">Cord&acirc;me</span> sont tr&egrave;s enveloppantes.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Anuraaqtuq by Tanya Tagaq</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111115</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111115</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-11-15T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_121/" title="Anuraaqtuq"><img src="http://www.electrocd.com/res/image.php/couv/victo_121.jpg?width=160" class="catimg" alt="Anuraaqtuq" title="Tanya Tagaq: Anuraaqtuq" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  
    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/victo_121/" class="cat" class="t">Anuraaqtuq</a>
      by <a href="http://www.actuellecd.com/en/bio/tagaq_ta/" class="bio" class="ind">Tanya Tagaq</a>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_victo_121">
  <a href="http://www.actuellecd.com/en/radio/?poste=cat_victo_121" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Anuraaqtuq</a>
</li>


  </ul>
  
  
  
  


      
    
  


                  
                
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    <item>
      <title>Heard In</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4585</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4585</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-15T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/et_14/" title="La Formule Xyz"><img src="http://www.electrocd.com/res/image.php/couv/et_14.jpg?width=160" class="catimg" alt="La Formule Xyz" title="Xyz: La Formule Xyz" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Wyman Brantley

    
      <i>in</i> <a class="out" href="http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1375">The Squid’s Ear</a> (USA), November 15, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “the balance of the three musicians is perfect throughout”
            
          
        
          
            <p>Musicians who let drones do most of the talking for them might learn a thing a two from <span class="ind">Martel</span>, <span class="ind">Tetrault</span>, and <span class="ind">Lauzier</span>. Complex drone washes can be beautiful in themselves, to be sure. But developments in the shape of the sound — the “composition,” for lack of a better term — in drone musics can be glacial at best. The listener can ironically feel almost coerced to enter that hypnotic state that best lends itself to enjoying steady drones.</p> <p>The pieces on <span class="t">La formule XYZ</span> perhaps highlight a strategic element that may seem missing when you are in the mood for something more engaging: the use of figure/ground contrasts. What do I mean by this? Listen to track one <span class="w">x= (R) z</span>, for example. A sound complex is established at the beginning of the piece and it is held pretty much static throughout, making it function as a drone. At the beginning, this drone is the “figure,” the main voice of the piece. However, as the piece advances, other sound events and sound complexes occur “on top of” this drone. As they happen, they momentarily become figure, and the static elements serve as ground. Later, though, the original drone also returns as figure occasionally, as the other sound events stop or otherwise lose our attention. Through this use of figural interplay, the drones tend to retain their effectiveness and attraction as musical events. Their ability to capture our interest is continually recycled and renewed.</p> <p>Mind you, this is noisy stuff. Consider the instrumentation: <span class="ind">Pierre-Yves Martel</span>: feedback, static; <span class="ind">Martin Tetrault</span>: pick-up, equalizer; <span class="ind">Philippe Lauzier</span>: soprano saxophone, bass clarinet, prepared amplifier.</p> <p>This should give readers some indication of the sense of the term “drones” used above. The tones and timbres here can be quite saw-toothed. This is post-industrial music, to be sure. Yet, on the harshness continuum, the aesthetic is much closer to your Nakamuras than your Merzbows.</p> <p>Aside from this group’s effectiveness as an ensemble, it really should be noted how well they work as an electroacoustic ensemble specifically. Track four (sparing you its Braxtonian title) is a great example. While <span class="ind">Lauzier</span> uses a purely acoustic instrument, soprano saxophone, the piece retains the machine-like aesthetic of the more electronically voiced tracks. Part of this is surely due to Lauzier’s playing (and his magnificent amplified bass clarinet on track six is a stand-out aspect of this recording). But it is also testament to the solid studio skills of those involved in making this disk: the balance of the three musicians is perfect throughout. The mix is upfront with minimal processing, providing a level of detail that suits this trio best.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4576</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4576</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-14T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                      
                      
                        
                          
                        
                          <a href="http://www.actuellecd.com/en/bio/derome_je/discog/" title="Jean Derome"><img src="http://www.electrocd.com/res/image.php/photo/derome_je.5968.jpg?width=160" /></a>
                        
                      
                    </p>
                  
                  
                  
                    
  
    By John Murph

    
      <i>in</i> <a class="out" href="http://www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=1801">Downbeat</a> (USA), November 14, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Like many Qu&eacute;b&eacute;cois jazz musicians, <span class="ind">Derome</span> and <span class="ind">L’Orchestre d’Hommes</span> are shamefully under-recorded, but such unforgettable performances will have festival attendees returning to Quebec to encounter other rare treasures.”
            
          
        
          
            <p>At Largo — the festival’s unofficial headquarters in the city’s Saint-Roch downtown district — multi-reedist <span class="ind">Jean Derome</span> paid homage to <span class="ind">Strayhorn</span> with an energetic performance that alluded to <span class="ind">Lovano</span>’s formative years in Cleveland. <span class="ind">Derome</span> focused on the alto saxophone but showed equal wherewithal on the baritone saxophone and bass flute. He fronted an extremely agile band — pianist <span class="ind">Fran&ccedil;ois Bourassa</span>, bassist <span class="ind">Normand Guilbeault</span> and drummer <span class="ind">Pierre Tanguay</span> — who brought their restive urgency to the forefront. Much of the performance’s delight came from <span class="ind">Derome</span>’s devil-may-care flair and finesse with <span class="ind">Strayhorn</span>’s material. While the sets didn’t rely upon unnecessary whimsy, the musicians brought inventive vigor to warhorses like <span class="w">Take The ‘A’ Train</span> and <span class="w">Passion Flower</span>. Occasionally, <span class="ind">Derome</span> shared the front line with vocalist <span class="ind">Karen Young</span>, who evoked <span class="ind">Billie Holiday</span> with the improvisational guile of <span class="ind">Betty Carter</span>. She meshed and contrasted deftly with <span class="ind">Derome</span>’s vinegary timbres on the saxophones and flutes, hitting high points on poignant readings of <span class="w">Strange Feeling</span>, <span class="w">Imagine My Frustrations</span>, <span class="w">Something To Live For</span> and an encore performance of <span class="w">Lush Life</span>. […] </p> <p>Like many Qu&eacute;b&eacute;cois jazz musicians, <span class="ind">Derome</span> and <span class="ind">L’Orchestre d’Hommes</span> are shamefully under-recorded, but such unforgettable performances will have festival attendees returning to Quebec to encounter other rare treasures.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Disques</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4573</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4573</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-07T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_119/" title="Birds Abide"><img src="http://www.electrocd.com/res/image.php/couv/victo_119.jpg?width=160" class="catimg" alt="Birds Abide" title="Malcolm Goldstein, Catherine Jauniaux, Barre Phillips: Birds Abide" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Luc Bouquet

    
      <i>in</i> <a class="out" href="http://grisli.canalblog.com/">Le son du grisli</a> (France), November 7, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “En r&eacute;sum&eacute;: poignant.”
            
          
        
          
            <p>&Agrave; Victoriaville, le 22 mai de l’ann&eacute;e derni&egrave;re, <span class="ind">Barre Phillips</span>, <span class="ind">Catherine Jauniaux</span> et <span class="ind">Malcolm Goldstein</span> avaient jug&eacute; utile de n’&ecirc;tre qu’eux-m&ecirc;mes et rien qu’eux-m&ecirc;mes.</p> <p>Sur sc&egrave;ne, les voici donc investis, sourds aux distractions ext&eacute;rieures et sensibles aux sollicitations de chacun. Oui, unis et li&eacute;s par cet art du d&eacute;lestement qu’ils n’ont plus &agrave; prouver mais &agrave; maintenir et &agrave; renouveler (ne change rien pour que tout soit diff&eacute;rent disait tonton JLG dans ses Histoire (s) du cin&eacute;ma). Alors, ils partagent, se rebellent, se suivent, s’opposent sans se disperser.</p> <p>Les histoires amorc&eacute;es par <span class="ind">Catherine Jauniaux</span> avortent ou sont rendues incompr&eacute;hensibles par le phras&eacute; fissur&eacute; de la chanteuse. Qu’importe: le tableau a d&eacute;j&agrave; chang&eacute; de teinte. Maintenant, ils tressent et d&eacute;tressent, rompent ou entretiennent l’unisson. Parfois, d’une m&eacute;lop&eacute;e incertaine surgissent les traces d’un chant ancestral. Parfois, le violon est ma&icirc;tre alors que la contrebasse n’est que d’accompagnement ou de soulagement. Mais toujours d’&eacute;coute. Parfois duo, presque toujours trio. En r&eacute;sum&eacute;: poignant.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Something in the Air: Brass-y Women Stand Up and Stand Out</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4571</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4571</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-05T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/br_323/" title="Halcyon Science 130410"><img src="http://www.electrocd.com/res/image.php/couv/br_323.jpg?width=160" class="catimg" alt="Halcyon Science 130410" title="Tomasz Krakowiak, Jean Martin, Wes Neal, Nicole Rampersaud, Evan Shaw: Halcyon Science 130410" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.jazzword.com/review/127606">The WholeNote</a> #17:3 (Canada), November 5, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Enhanced freedom in music over the past 60 years has involved more than the addition of new instrumental techniques and compositional strategies.”
            
          
        
          
            <p>Enhanced freedom in music over the past 60 years has involved more than the addition of new instrumental techniques and compositional strategies. Recasting of gender roles has also taken place. No longer are women instrumentalists expected to play traditionally delicate female instruments such as violins or flutes; or those where they sit demurely such as the piano, harp or cello. This change is most obvious in improvised music, where the number of women who stand up to play has multiplied exponentially. Many have chosen to become brass players, adapting their skills to apparatuses which demands power and stamina.</p> <p>Take Toronto trumpeter <span class="ind">Nicole Rampersaud</span> for instance. The high-quality improvising she exhibits on <span class="t">Halcyon Science</span> in the company of saxophonist <span class="ind">Evan Shaw</span>, drummer <span class="ind">Jean Martin</span>, bassist <span class="ind">Wes Neal</span> and percussionist <span class="ind">Tomasz Krakowiak</span> doesn’t distinguish in any way between her talents and those of her colleagues. During seven group compositions, the quintet vaults back-and-forth from high-energy anthems to more cerebral explorations with equal skill. <span class="w">Take me To Your Leader</span> is an example of the latter, as clattering friction from <span class="ind">Krakowiak</span>’s noise-makers evolves in stacked counterpoint alongside <span class="ind">Shaw</span>’s irregularly squeezed vibrations plus the mouthpiece suckles and tremolo emphasis of <span class="ind">Rampersaud</span>. Her rubato slurs and valve squeaks intersect perfectly with the baritone saxophonist’s tongued percussiveness as <span class="ind">Martin</span>’s ratamacues, pops and drags presage harmonizing vamps and a final quivering dissolve. Meantime the title tune and <span class="w">Dirigible</span> move with a chromatic gait. The former resembles an <span class="ind">Eric Dolphy</span> line, with repeated climaxes interrupted by mid-range honks from <span class="ind">Shaw</span> and stuttering pitches from the trumpeter. <span class="w">Dirigible</span> stacks timbres so that space between <span class="ind">Rampersaud</span>’s staccato and heraldic tone and <span class="ind">Shaw</span>’s juddering tempos are obvious. Still a near-bugle call on the trumpeter’s part in the final sequence signals a slowdown to barely there flutter tonguing on her part, accompanied by the reedist’s smooth obbligato, until together they dovetail into muted tones framed by drumstick-rubbing friction from the two percussionists.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Filature by Joane Hétu</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111104</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111104</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-11-04T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_208/" title="Filature"><img src="http://www.electrocd.com/res/image.php/couv/am_208.jpg?width=160" class="catimg" alt="Filature" title="Joane H&eacute;tu: Filature" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  
    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/am_208/" class="cat" class="t">Filature</a>
      by <a href="http://www.actuellecd.com/en/bio/hetu_jo/discog/" class="bio" class="ind">Joane H&eacute;tu</a>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_am_208">
  <a href="http://www.actuellecd.com/en/radio/?poste=cat_am_208" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Filature</a>
</li>


  </ul>
  
  
  
  


      
    
  


                  
                
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    <item>
      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4572</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4572</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-04T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_121/" title="Anuraaqtuq"><img src="http://www.electrocd.com/res/image.php/couv/victo_121.jpg?width=160" class="catimg" alt="Anuraaqtuq" title="Tanya Tagaq: Anuraaqtuq" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Bruce Lee Gallanter

    
      <i>in</i> <a class="out" href="http://www.downtownmusicgallery.com/Main/news/Newsletter-2011-11-04.html">Downtown Music Gallery</a> (USA), November 4, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “It was a spectacle no one who attended will soon forget.”
            
          
        
          
            <p>Although Ms. <span class="ind">Tagaq</span> is a Inuit throat singer from the northern region of Canada, this doesn’t begin to explain her exhilarating and incredibly intense performance at the Victoriaville Festival in May of 2010. I had caught her once at the Guelph Fest in a more intimate improv situation but her Victo debut was something else altogether. She wisely chose two of Canada’s best improvising musicians to collaborate with: violinist <span class="ind">Jesse Zubot</span> (Vancouver-based & head of the Drip Audio label) and drummer <span class="ind">Jean Martin</span> (Toronto-based & cofounder of Barnyard records). Both visually and vocally, Ms. <span class="ind">Tagaq</span> was a bit over-whelming as she delivered her own strange, animalistic vocal sounds and danced like a demon in flames. It was a spectacle no one who attended will soon forget. Tanya’s uses her voice in odd ways, twisting and bending it into shapes not so easy to describe. <span class="w">Snarl</span> opens with just Tanya moving between two different vocal characters or inflections: a young woman with higher more fragile voice and an older woman with a breathing problem or hoarse witch-like quality. Slowly Jesse adds fractured strings and Jean adds subtle percussion, as the trio blends and builds the into a tight frenzy, casting their own spell over the attentive audience. Ms. <span class="ind">Tagaq</span>’s throat-singing is much different from the Mongolian throat-singing that most of us have heard in the past, giving it an exorcist sort-of quality. Mr. <span class="ind">Martin</span> adds eerie electronic samples on <span class="w">Plush</span> and perhaps he is the one who adds echoes or manipulates Tanya’s voice adding another layer or two. Being present at this concert, I was somewhat overwhelmed by the visual content and loud volume, but listening to the disc I hear more of the connection between the players and the overall music display or picture. Tanya often sounds as if she is playing different characters, from a crying little girl to a scary old lady. Jesse and Jean do a fine job of adding their own sympathetic interaction selectively and at times just laying out while Tanya creates another voice or presence. Like all CD’s on the Victo label, the sound is superb and well-balanced. At times it hard to tell that Ms. <span class="ind">Tagaq</span> is making those sounds herself, they are completely captivating and sound like the language of a friendly alien.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>New Arrival: Lieux imaginés by Cordâme</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111103</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111103</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-11-03T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_015/" title="Lieux imagin&eacute;s"><img src="http://www.electrocd.com/res/image.php/couv/mam_015.jpg?width=160" class="catimg" alt="Lieux imagin&eacute;s" title="Cord&acirc;me: Lieux imagin&eacute;s" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  
    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/mam_015/" class="cat" class="t">Lieux imagin&eacute;s</a>
      by <a href="http://www.actuellecd.com/en/bio/cordame_/discog/" class="bio" class="ind">Cord&acirc;me</a>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_mam_015">
  <a href="http://www.actuellecd.com/en/radio/?poste=cat_mam_015" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Lieux imagin&eacute;s</a>
</li>


  </ul>
  
  
  
  


      
    
  


                  
                
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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4569</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4569</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-02T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_015/" title="Lieux imagin&eacute;s"><img src="http://www.electrocd.com/res/image.php/couv/mam_015.jpg?width=160" class="catimg" alt="Lieux imagin&eacute;s" title="Cord&acirc;me: Lieux imagin&eacute;s" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/11/2011-11-02-cordame-vazytouille-tanya.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), November 2, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “<span class="t">Migration</span> was already very strong, but <span class="t">Lieux imagin&eacute;s</span> highlights composition skills that are so rich and sophisticated, yet so accessible!”
            
          
        
          
            <p> [Translation] Doublebassist <span class="ind">Jean-F&eacute;lix Mailloux</span>’s string trio <span class="ind">Cord&acirc;me</span> is getting better and better with each album — it is actually making giant leaps. <span class="t">Migration</span> was already very strong, but <span class="t">Lieux imagin&eacute;s</span> highlights composition skills that are so rich and sophisticated, yet so accessible! Thirteen pieces bearing names of cities <span class="ind">Mailloux</span> never visited. <span class="w">Santiago</span> and <span class="w">Dans la t&ecirc;te de M. Sakamoto</span> stand out. Influences from <span class="ind">Bar Kohkba</span> and tango music, but a highly personal style.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4570</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4570</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-11-02T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_121/" title="Anuraaqtuq"><img src="http://www.electrocd.com/res/image.php/couv/victo_121.jpg?width=160" class="catimg" alt="Anuraaqtuq" title="Tanya Tagaq: Anuraaqtuq" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/11/2011-11-02-cordame-vazytouille-tanya.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), November 2, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “She screams, cries, yelps and orgasms, transmuting the most atavistic human emotions into a spellbinding song. And that particular night, she reached new heights […]”
            
          
        
          
            <p> [Translation] Exiting the venue back in May 2010, we all knew we had just witness something incredible, magical. Then, time took its toll, and we started doubting; we caught other shows by the artist, and we doubted again, Finally, this CD arrived and, well, it was real, we DID witness a moment of pure magic, a moment this record faithfully preserves. <span class="t">Anuraaqtuq</span> is the first recording by <span class="ind">Tanya Tagaq</span>’s trio in its incarnation since 2009. With drummer <span class="ind">Jean Martin</span> and violinist <span class="ind">Jesse Zubot</span>, the Inuit singer completely eschews her previous pop records to dive headfirst into ultra-emotional free improvisation. She screams, cries, yelps and orgasms, transmuting the most atavistic human emotions into a spellbinding song. And that particular night, she reached new heights before an audience that, unlike what she was used to, was taking it all in and asking for more. A communion the likes of which I have rarely witnessed — and whenever I did, it was always at FIMAV and nowhere else.</p>
          
        
  
        
      
    
    
    
  


                  
                
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</description>
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      <title>New Arrivals</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111031</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111031</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-10-31T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/et_15/" title="Solitary Pleasures"><img src="http://www.electrocd.com/res/image.php/couv/et_15.jpg?width=160" class="catimg" alt="Solitary Pleasures" title="Fortner Anderson: Solitary Pleasures" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_207/" title="Teoria dell’elasticit&agrave; di Girolamo Papariello"><img src="http://www.electrocd.com/res/image.php/couv/am_207.jpg?width=160" class="catimg" alt="Teoria dell’elasticit&agrave; di Girolamo Papariello" title="Mecha Fixes Clocks: Teoria dell’elasticit&agrave; di Girolamo Papariello" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  

  
    
      <p>
        
        We have added 2 items to our shop today:
      </p>
      
      <ul>
    
    
    <li>
      <a href="http://www.actuellecd.com/en/cat/et_15/" class="cat" class="t">Solitary Pleasures</a>
      by <a href="http://www.actuellecd.com/en/bio/anderson_fo/discog/" class="bio" class="ind">Fortner Anderson</a>
    </li>
    
    
  

  

  

  

  
    
    
    <li>
      <a href="http://www.actuellecd.com/en/cat/am_207/" class="cat" class="t">Teoria dell’elasticit&agrave; di Girolamo Papariello</a>
      by <a href="http://www.actuellecd.com/en/bio/mechafixesclocks_/" class="bio" class="ind">Mecha Fixes Clocks</a>
    </li>
    
    
      </ul>
      
      <p>
        
        We invite you to check them out!
      </p>
    
  

  
    
    

    
  


                  
                
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    </item>
    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4568</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4568</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-27T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_207/" title="Teoria dell’elasticit&agrave; di Girolamo Papariello"><img src="http://www.electrocd.com/res/image.php/couv/am_207.jpg?width=160" class="catimg" alt="Teoria dell’elasticit&agrave; di Girolamo Papariello" title="Mecha Fixes Clocks: Teoria dell’elasticit&agrave; di Girolamo Papariello" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/10/2011-10-26-mecha-fixes-clocks-minamo.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), October 27, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Different than and on par with the first two albums. I wish long life and ongoing renewal to this great project!”
            
          
        
          
            <p> [Translation] The vagrancy of <span class="ind">Michel F C&ocirc;t&eacute;</span>’s project <span class="ind">Mecha Fixes Clocks</span> continues: after an album on alien8 and one on &records, the third opus is now out on Ambiances Magn&eacute;tiques. Recorded last year at Studio 270, this CD features a new expanded line-up (<span class="ind">C&ocirc;t&eacute;</span>, <span class="ind">Freedman</span>, <span class="ind">Lauzier</span>, <span class="ind">Epps</span>, <span class="ind">Zubot</span>, <span class="ind">Ren&eacute;</span>, <span class="ind">Thiessen</span>, <span class="ind">Martel</span>, <span class="ind">St-Onge</span>, <span class="ind">Falaise</span>, <span class="ind">T&eacute;treault</span>). The music is still as mysterious and shapeshifting as before: textural improvisation, occasional suggestions of rhythmical and melodic elements, confluences of synergetic ideas giving the impression not of chaos but of a highly complex compositional will. Different than and on par with the first two albums. I wish long life and ongoing renewal to this great project!</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4566</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4566</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-18T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/br_325/" title="Abandoned Ballroom"><img src="http://www.electrocd.com/res/image.php/couv/br_325.jpg?width=160" class="catimg" alt="Abandoned Ballroom" title="Saint Dirt Elementary School: Abandoned Ballroom" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/10/2011-10-18-saint-dirt-elementary-school.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), October 18, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Candy for the ear, instantly endearing.”
            
          
        
          
            <p> [Translation] A second opus for <span class="ind">Saint Dirt Elementary School</span>, an ensemble led by lap-steel player <span class="ind">Myk Freedman</span>. And this one’s a big step forward, a truly beautiful record of short naive pieces, so pretty they’ll make you smile in harmony. The opening tune <span class="w">As America Crumbles, I Sit in My Room Dreaming Up Silly Songs</span> has an unavoidable Klimperei feel (the glockenspiel), while the Latin rhythms in <span class="w">Zombies Love Dancin’ to this Number</span> bring to mind <span class="ind">Jono El Grande</span> shacking up with <span class="ind">Perrey &amp; Kingsley</span>. Elsewhere, the music displays strong affinities with <span class="ind">Fanfare Pourpour</span>, <span class="ind">Pascals</span> and Swedish duo <span class="ind">Sagor &amp; Swing</span>. Candy for the ear, instantly endearing.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4567</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4567</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-18T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/br_326/" title="At Christ Church Deer Park"><img src="http://www.electrocd.com/res/image.php/couv/br_326.jpg?width=160" class="catimg" alt="At Christ Church Deer Park" title="The Element Choir, William Parker: At Christ Church Deer Park" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/10/2011-10-18-saint-dirt-elementary-school.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), October 18, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “45 minutes of happiness to follow up on the large vocal improvisation ensemble’s debut.”
            
          
        
          
            <p> [Translation] At a CD launch event organized by Barnyard Records, were simultaneously on stage at some point the <span class="ind">Lewis/Downing/Martin</span> trio, <span class="ind">William Parker</span>, and <span class="ind">Christine Duncan</span>’s <span class="ind">Element Choir</span>. The result: 45 minutes of happiness to follow up on the large vocal improvisation ensemble’s debut. Less grand and revelatory than their first CD, but still a very honest effort. The first 20 minutes are gorgeous — nice synergy between pipe organ, choir and instrumentalists. But the piece looses its way afterward. Start with <span class="w">At Rosedale United</span>.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4565</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4565</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-10T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/cqb_1110/" title="Le mensonge et l’identit&eacute;"><img src="http://www.electrocd.com/res/image.php/couv/cqb_1110.jpg?width=160" class="catimg" alt="Le mensonge et l’identit&eacute;" title="Bozzini Quartet: Le mensonge et l’identit&eacute;" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/cqb_1111/" title="Sens(e) Absence"><img src="http://www.electrocd.com/res/image.php/couv/cqb_1111.jpg?width=160" class="catimg" alt="Sens(e) Absence" title="Bozzini Quartet: Sens(e) Absence" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Dolf Mulder

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/801.html">Vital</a> #801 (Netherlands), October 10, 2011
    
  

  

  
    
      
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              “Not an easy work this suite. Life isn’t an easy matter either.”
            
          
        
          
            <p>Founded in 1999 this string quartet has built a reputation in interpreting all kinds of modern Music in well-defined projects. Earlier releases concentrated respectively on <span class="ind">Steve Reich</span>, <span class="ind">James Tenney</span>, etc. This year two new releases saw the light. <span class="t">Sens(e) Absence</span> has two lengthy and otherwise related works by <span class="ind">Ernststalbrecht Stiebler</span> (<span class="w">Sehr langsam</span>) and <span class="ind">Daniel Rothman</span> (<span class="w">Sense Absence</span>). <span class="w">Sehr langsam</span> from veteran German composer <span class="ind">Stiebler</span>, describes perfectly how this piece progresses. It moves very slowly forward, through a constant fading in and fading out of the strings, who play long extended notes. The piece breaths a deep sonority and ask for an exercise in patience, in just listening without expecting much to happen. <span class="ind">Rothman</span> is an american composer of a younger age, who composed a piece that is closely related to <span class="w">Sehr langsam</span>. Also his composition is about drones and moves on very slowly, again through the playing of long extended notes. In both pieces little intervals, harmonies and other details are discovered when listening attentively. On <span class="t">Le mensonge et l’identit&eacute;</span> the <span class="ind">Bozzini Quartet</span> shows a different face. It is a work by <span class="ind">Joane H&eacute;tu</span> and <span class="ind">Jean Derome</span> for string quartet, “whom members speak, move about, improvise, and accompany themselves with a prerecorded tape.” The work is divided in three sections. In the first part we see the classical quartet. In the second part the musicians start to move on stage from their original positions. In the third section the musicians operate individually. Over the pieces the music moves from composed to improvised, from constructed to deconstructed. But whatever happens, throughout the musicians play together, cooperating in one work. The music is also meant as a metaphor for what happens in our society. Institutions disappear, leaving the individual alone and homeless. However music is a force that create community as well spiritually as physically. That is the philosophy of this piece, and that can be picked up from the spoken parts. Sometimes the music is interrupted by spoken words, and other places they move along unisono. Personally I’m not a fan of music where spoken words are part of the concept, to communicate some message. But that is a matter of taste. Not an easy work this suite. Life isn’t an easy matter either.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: 24 Frames — Scatter + Trance by Tim Brady, Martin Messier</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111008</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20111008</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-10-08T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/am_905/" title="24 Frames — Scatter + Trance"><img src="http://www.electrocd.com/res/image.php/couv/am_905.jpg?width=160" class="catimg" alt="24 Frames — Scatter + Trance" title="Tim Brady, Martin Messier: 24 Frames — Scatter + Trance" /></a>
                      
                      
                      
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    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/am_905/" class="cat" class="t">24 Frames — Scatter + Trance</a>
      by <a href="http://www.actuellecd.com/en/bio/brady_ti/discog/" class="bio" class="ind">Tim Brady</a>, <a href="http://www.actuellecd.com/en/bio/messier_ma/discog/" class="bio" class="ind">Martin Messier</a>,
      
      
      the latest addition to our shop.
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  <a href="http://www.actuellecd.com/en/radio/?poste=cat_am_905" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
24 Frames — Scatter + Trance</a>
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      <title>Journal de bord de l’OFF: Trio Derome Guilbeault Tanguay + Socalled / Nozen</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4564</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4564</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-08T00:00:00-06:00</pubDate>
      <description>
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                          <a href="http://www.actuellecd.com/en/bio/trioderomeguilbeault_/discog/" title="Trio Derome Guilbeault Tanguay"><img src="http://www.electrocd.com/res/image.php/photo/trioderomeguilbeault_.9.jpg?height=220" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.actuellecd.com/en/bio/nisenson_da/discog/" title="Dami&aacute;n Nisenson"><img src="http://www.electrocd.com/res/image.php/photo/nisenson_da.3.jpg?width=160" /></a>
                        
                      
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    By Fran&ccedil;ois Dunlop

    
      <i>in</i> <a class="out" href="http://douzepouces.com/wordpress/?p=4412">CISM</a> (Qu&eacute;bec), October 8, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Qu’il n’y ait qu’un seul jazz ou plusieurs, que son existence m&ecirc;me soit remise en question ou pas, personne ne pourrait r&eacute;unir plus de consentement que le trio de force de <span class="ind">Jean Derome</span>, <span class="ind">Normand Guilbeault</span> et <span class="ind">Pierre Tanguay</span> sur le sujet.”
            
          
        
          
            <p>Trio Derome Guilbeault Tanguay</p> <p>Qu’il n’y ait qu’un seul jazz ou plusieurs, que son existence m&ecirc;me soit remise en question ou pas, personne ne pourrait r&eacute;unir plus de consentement que le trio de force de <span class="ind">Jean Derome</span>, <span class="ind">Normand Guilbeault</span> et <span class="ind">Pierre Tanguay</span> sur le sujet. Difficile donc de commenter un concert o&ugrave; les parrains de notre sc&egrave;ne ne font que le plus naturel des gestes: &eacute;taler leur art dans sa plus pure version. Poursuivant dans l’&eacute;lan du magnifique <span class="t">Danse &agrave; l’Anvers</span> (Ambiances Magn&eacute;tiques Jazz, 2011), le trio a doucement navigu&eacute; entre les compositions de ma&icirc;tre <span class="ind">Derome</span> et celui de la grande histoire du jazz, d&eacute;construisant au passage le classique de <span class="ind">Ray Henderson</span>, <span class="w">The Best Things In Life Are Free</span>. Autre moment phare de la prestation fut celui o&ugrave; ce m&ecirc;me <span class="ind">Derome</span> fredonna doucement les paroles d’un <span class="w">You Can Depend On Me</span>, sous le d&eacute;lire d’une foule d&eacute;cid&eacute;ment bien heureuse par la surprise. Inutile de le r&eacute;p&eacute;ter, mais faisons-le tout de m&ecirc;me, <span class="ind">Normand Guilbeault</span> commanda sa contrebasse comme seul lui sait le faire et <span class="ind">Pierre Tanguay</span> n’a que r&eacute;it&eacute;r&eacute; son titre de premier batteur de la nation.</p> <p><span class="ind">Socalled</span> / <span class="ind">Nozen</span></p> <p>Rappelons-nous de cette premi&egrave;re mouture du <span class="t">Tremblement de fer</span> de <span class="ind">Pierre Labb&eacute;</span> et ses 50 musiciens, une commande de l’OFF qui, apr&egrave;s un d&eacute;part un peu &eacute;parpill&eacute;, a pris beaucoup de gallon en se r&eacute;orientant vers une (in&eacute;vitable) formation plus r&eacute;duite et plus concise. Un projet de la sorte n’aurait jamais vu le jour sans le support de l’OFF. La m&ecirc;me conclusion pourrait &ecirc;tre tir&eacute;e de cette fusion entre le projet du multi-instrumentiste <span class="ind">Socalled</span> et la formation free-klez (bah, utilisons ce terme au d&eacute;pit d’un autre…) <span class="ind">Nozen</span> de <span class="ind">Damian Nisenson</span>. Gravitant g&eacute;n&eacute;ralement autour du r&eacute;pertoire du quartet et de quelques m&eacute;lodies h&eacute;bra&iuml;ques, le concert s’est lentement dirig&eacute; vers une finale plus socalledienne au plaisir des quelques disciples de la star montr&eacute;alaise qui n’h&eacute;sit&egrave;rent pas &agrave; improviser un petit plancher de dans dans un Lion d’Or confortablement assis. Alors que l’int&eacute;gration des &eacute;chantillons laissait &agrave; d&eacute;sirer par une coh&eacute;sion brouillonnant les rythmes de <span class="ind">Pierre Tanguay</span> (batterie) et <span class="ind">Jean-F&eacute;lix Mailloux</span> (basse et contrebasse), celle des piano et claviers relevait d’un cran le jeu d’ensemble des musiciens. L’histoire saura nous dire si <span class="ind">Nozen</span> retentera l’exp&eacute;rience avec un <span class="ind">Socalled</span> d&eacute;laiss&eacute; &agrave; ses simples pianos et accord&eacute;ons. Preuve fut d’ailleurs servie lors d’une tr&egrave;s jolie finale tout en acoustique o&ugrave; saxophone, accord&eacute;on, et contrebasse d&eacute;fil&egrave;rent en plein milieu d’un public conquis par un esprit festif n’ayant jamais manqu&eacute; au rendez-vous.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4561</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4561</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-06T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/am_206/" title="24 Frames — Scatter"><img src="http://www.electrocd.com/res/image.php/couv/am_206.jpg?width=160" class="catimg" alt="24 Frames — Scatter" title="Tim Brady: 24 Frames — Scatter" /></a>
                      
                      
                      
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    By R&eacute;jean Beaucage

    
      <i>in</i> <a class="out" href="http://voir.ca/fiches/cd/tim-brady-bradyworks-24-frames-scatter/">Voir</a> (Qu&eacute;bec), October 6, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Les pi&egrave;ces sont surprenantes, et il est difficile de pointer une pr&eacute;f&eacute;rence.”
            
          
        
          
            <p>Voici deux CD qui bouclent le cycle <span class="t">24 Frames</span> du guitariste <span class="ind">Tim Brady</span>, amorc&eacute; par un coffret CD/DVD paru en 2010. Le premier disque fait entendre des duos entre la guitare &eacute;lectrique et les membres de <span class="ind">Bradyworks</span>. Les pi&egrave;ces sont surprenantes, et il est difficile de pointer une pr&eacute;f&eacute;rence entre les duos avec voix (<span class="ind">Karen Young</span>), sax baryton (<span class="ind">Jean-Marc Bouchard</span>), clarinette basse (<span class="ind">Lori Freedman</span>), alto (<span class="ind">Pemi Paull</span>), trombone basse (<span class="ind">Trevor Dix</span>) ou percussions (<span class="ind">Catherine Meunier</span>). Le deuxi&egrave;me CD pr&eacute;sente <span class="ind">Brady</span> en solo, et offre un excellent aper&ccedil;u de la vaste palette sonore et stylistique du compositeur, comme de ses capacit&eacute;s d’instrumentiste! 4/5</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Jean René: altiste contemporain… de moins en moins discret</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4562</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4562</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-06T00:00:00-06:00</pubDate>
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                          <a href="http://www.actuellecd.com/en/bio/rene_je/discog/" title="Jean Ren&eacute;"><img src="http://www.electrocd.com/res/image.php/photo/rene_je.1.jpg?width=160" /></a>
                        
                      
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    By Alain Brunet

    
      <i>in</i> <a class="out" href="http://www.cyberpresse.ca/arts/musique/201110/06/01-4454954-jean-rene-altiste-contemporain-de-moins-en-moins-discret.php?utm_categorieinterne=trafficdrivers&utm_contenuinterne=envoyer_cbp">La Presse</a> (Qu&eacute;bec), October 6, 2011
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “«C’est de la musique qui pourrait se prendre la t&ecirc;te entre les deux mains, mais… qui a aussi envie de danser.»”
            
          
        
          
            <p>Tout m&eacute;lomane montr&eacute;alais int&eacute;ress&eacute; un tant soit peu &agrave; la musique contemporaine, au jazz contemporain ou autres musiques actuelles l’a vu et entendu &agrave; maintes reprises. Peut-&ecirc;tre sans le reconna&icirc;tre puisque ses fonctions &eacute;taient plut&ocirc;t discr&egrave;tes, enfin jusqu’&agrave; une p&eacute;riode r&eacute;cente. Jusqu’&agrave;… aujourd’hui?</p> <p>Mis en relief dans le <span class="ind">Ratchet Orchestra</span> au dernier Festival international de musique actuelle de Victoriaville, un solo magnifique et d’autant plus flamboyant de l’altiste <span class="ind">Jean Ren&eacute;</span> a motiv&eacute; la r&eacute;daction cette cette interview. La pr&eacute;sentation de son quatuor &agrave; l’Off Festival de jazz de Montr&eacute;al, ce dimanche &agrave; la Casa del Popolo, en a d&eacute;termin&eacute; la publication.</p> <p>Parlons d’abord de l’alto, ce «gros violon» connu pour son r&ocirc;le relativement effac&eacute; dans les ensembles et… peu connu pour ses solistes. Qu’en dites-vous, <span class="ind">Jean Ren&eacute;</span>?</p> <blockquote> <p>«L’alto, soul&egrave;ve-t-il, est souvent &eacute;cras&eacute; par le violon et le violoncelle. M&ecirc;me dans le r&eacute;pertoire classique (pr&eacute;-contemporain), l’alto reste souvent &agrave; l’arri&egrave;re-plan alors que dans la musique contemporaine, il est davantage mis en &eacute;vidence. Il y de la mati&egrave;re &agrave; jouer pour deux vies!»</p> </blockquote> <p>Originaire de Victoriaville, le musicien a entrepris de vraies &eacute;tudes de musiques sur le tard: &agrave; 18 ans, il s’&eacute;tait inscrit &agrave; l’&Eacute;cole sup&eacute;rieure de musique de Nicolet avant de poursuivre ses &eacute;tudes en composition &agrave; l’Universit&eacute; de Montr&eacute;al, sans compter la direction d’orchestre. «&Agrave; cette &eacute;cole dirig&eacute;e par des soeurs dans les ann&eacute;es 70, relate-t-il, j’ai &eacute;tudi&eacute; en m&ecirc;me temps que les violoncellistes <span class="ind">Claude Lamothe</span> et <span class="ind">Alain Aubut</span>, ainsi qu’avec le compositeur <span class="ind">Jean Lesage</span>. Des soeurs tr&egrave;s dynamiques nous enseignaient la musique, elles &eacute;taient comp&eacute;tentes et disposaient de ressources pour accro&icirc;tre leur expertise.»</p> <p>Qu’avait alors motiv&eacute; le choix de l’alto?</p> <p>«Je ne voulais pas apprendre le violon parce que la corde de mi m’agressait. Et aussi parce que j’avais entendu &agrave; la radio une pi&egrave;ce de musique contemporaine pour alto… que je n’ai jamais retrouv&eacute;e! Avant de choisir l’alto, d’ailleurs, j’&eacute;tais guitariste gaucher; je suis devenu altiste droitier lorsqu’on m’a indiqu&eacute; que je ne pourrais jamais &ecirc;tre gaucher dans le monde classique, tr&egrave;s conservateur. Ce que j’avais acquis en v&eacute;locit&eacute; sur le manche de la guitare, j’ai d&ucirc; y renoncer, mais… &Agrave; cet &acirc;ge-l&agrave;, on &eacute;tait fou! On commen&ccedil;ait &agrave; 7h le matin et on finissait &agrave; 21h le soir. La musique est une maladie, c’est connu», raconte le musicien, &eacute;touffant un rire contagieux.</p> <p>Longtemps instrumentiste permanent &agrave; l’<span class="ind">Orchestre M&eacute;tropolitain</span>, <span class="ind">Jean Ren&eacute;</span> a renonc&eacute; &agrave; sa permanence pour prendre part &agrave; de nombreux projets qu’il estimait ne pouvoir rater. En tant que pigiste, il a particip&eacute; &agrave; plusieurs ensembles de musique contemporaine dont celui de la SMCQ ou encore des ensembles classiques tel l’orchestre de chambre <span class="ind">Appassionata</span>.</p> <p>En tant que soliste et leader d’orchestre, sa d&eacute;marche est plus r&eacute;cente:</p> <blockquote> <p>«Depuis 2003, j’ai commenc&eacute; &agrave; faire du solo et travailler sur un projet d’album; <span class="t">Fammi</span> est finalement sorti en 2010 — sous label &amp;records. Je voulais une petite formation pour interpr&eacute;ter ma musique, mais aussi celles que j’avais d&eacute;j&agrave; jou&eacute;es aux c&ocirc;t&eacute;s de <span class="ind">Ren&eacute; Lussier</span>, <span class="ind">Jean Derome</span> ou <span class="ind">Normand Guilbeault</span> — pour citer celles au programme de dimanche. Des œuvres que je consid&egrave;re comme des classiques qu&eacute;b&eacute;cois, mais qui ne sont g&eacute;n&eacute;ralement jou&eacute;es que par leur compositeur.</p> <p>Quant &agrave; mes compositions, elles naissent g&eacute;n&eacute;ralement d’improvisations. J’en note des bouts, je construis autour et je laisse une place &agrave; l’improvisation.»</p> <p><span class="ind">Jean Ren&eacute;</span> avait d’abord compos&eacute; pour l’alto, le violon et la contrebasse, trio auquel il a ensuite greff&eacute; une batterie. Ainsi, son projet Et quart se compose du violoniste <span class="ind">Joshua Zubot</span>, du contrebassiste <span class="ind">Nicolas Caloia</span> et du batteur <span class="ind">Pierre Tanguay</span>.</p> <p>Difficile de circonscrire le style de <span class="ind">Jean Ren&eacute;</span>, qui puise dans tous les univers de la musique instrumentale contemporaine. Laissons-le donc r&eacute;sumer: «C’est de la musique qui pourrait se prendre la t&ecirc;te entre les deux mains, mais… qui a aussi envie de danser.»</p> </blockquote> <p>Et quart, projet men&eacute; par l’altiste <span class="ind">Jean Ren&eacute;</span>, est pr&eacute;sent&eacute; ce dimanche &agrave; la Casa del Popolo dans le cadre de l’Off festival de jazz de Montr&eacute;al.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4557</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4557</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-05T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/victo_120/" title="Envoi"><img src="http://www.electrocd.com/res/image.php/couv/victo_120.jpg?width=160" class="catimg" alt="Envoi" title="Bill Dixon: Envoi" /></a>
                      
                      
                      
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    By Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.jazzword.com/review/127576">The WholeNote</a> #17:2 (Canada), October 5, 2011
    
  

  

  
    
      
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              “<span class="t">Envoi</span> also demonstrates <span class="ind">Dixon</span>’s influence on a younger generation of brass players.”
            
          
        
          
            <p>Praised and reviled in equal measure during his 40-year career, Vermont-based trumpeter <span class="ind">Bill Dixon</span> was finally recognized as one of improvised music’s most original stylists and theorists before his death at 84 in June 2010. Fittingly his final concert took place a mere three weeks previously at Quebec’s Festival International de Musique Actuelle de Victoriaville, where a hand-picked octet played this composition under his direction. Luckily the performance has been released as <span class="t">Envoi</span> (Victo Records Victo cd 120). Not only do the two sections illuminate <span class="ind">Dixon</span>’s particular mixture of formalism and freedom, but with a horn section of four playing cornet, bugle and flugelhorn, <span class="t">Envoi</span> also demonstrates <span class="ind">Dixon</span>’s influence on a younger generation of brass players.</p> <p>Famously prickly and opinionated, <span class="ind">Dixon</span> organized The Jazz Composers Guild, one of jazz musicians’ first self-help organizations in the mid-1960s. A long-time professor at Bennington College in Vermont, <span class="ind">Dixon</span> recorded sparingly over the years, which makes this session doubly valuable. Impressionistic and dramatic, <span class="t">Envoi</span> is organized with classical precision in varied sequences. Most involve muted, shaded bent notes from the brass players in counterpoint to the spiccato string swipes of cellist <span class="ind">Glynis Loman</span> and bassist <span class="ind">Ken Filiano</span>, or, in the first section, tart slurs from <span class="ind">Michel C&ocirc;t&eacute;</span>’s bass clarinet. Additional unifying motifs come from <span class="ind">Warren Smith</span>’s resounding kettle drumming, and, in the second section, his ringing vibes, which soften the interface as it moves forward. In that same section the unison strings maintain a menacing undertow, breached only occasionally by heraldic brassiness or dissonant grace notes, plus at one point echoing stillness from <span class="ind">Graham Hayes</span>’ bugle. True to <span class="ind">Dixon</span>’s style, most of the brass tones are segmented sound shards which waft pure air through the horns. Following nearly 40 minutes of quivery tremolo theme variations, a spectacular example of the trumpeter’s measured art arrives near the end. After one cornetist sounds heraldic tones at a higher pitch among the others’ capillary whispers, all harmonize for a protracted section of legato impressionism, only scattering at the end as one puffs quietly while another exposes plunger tones. Finally, call-and-response vamping from all marks the climax.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4560</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4560</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-05T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/et_11/" title="Pink Saliva"><img src="http://www.electrocd.com/res/image.php/couv/et_11.jpg?width=160" class="catimg" alt="Pink Saliva" title="Pink Saliva: Pink Saliva" /></a>
                      
                      
                      
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    By Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.jazzword.com/review/127576">The WholeNote</a> #17:2 (Canada), October 5, 2011
    
  

  

  
    
      
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              “Someone who took lessons with <span class="ind">Bill Dixon</span> and — at least in choice of band name — has inherited the older man’s impudence, is <span class="ind">Ellwood Epps</span> […]”
            
          
        
          
            <p>[…] Someone who took lessons with <span class="ind">Bill Dixon</span> and — at least in choice of band name — has inherited the older man’s impudence, is <span class="ind">Ellwood Epps</span>, whose <span class="ind">Pink Saliva</span> trio (& Records &11), is filled out by <span class="ind">Alexandre St-Onge</span> on electric bass and laptop and <span class="ind">Michel F C&ocirc;t&eacute;</span> on drums, microphones and lap steel guitar. Although <span class="ind">Dixon</span> only dabbled in electronics, <span class="ind">Epps</span>, a Toronto native, and his Qu&eacute;b&eacute;cois confr&egrave;res, embrace it wholeheartedly, adding oscillated wave forms and crackling drones to everything they play. Negotiating the line between indie-rock and jazz-improvisation, the CD is studded with irregular ruffs and drags on <span class="ind">C&ocirc;t&eacute;</span>’s part, rumbles and pops from <span class="ind">St-Onge</span>’s string set and dial-twisting buzzes. At points overdubbed, <span class="ind">Epps</span>’ trumpet soars over these wiggling sequences, repeatedly shifting from low-pitched inner-horn gurgles to piercing trills, adding additional touches of soaring lyricism.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Lounge pour alcooliques extravertis</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4555</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4555</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-10-02T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/br_325/" title="Abandoned Ballroom"><img src="http://www.electrocd.com/res/image.php/couv/br_325.jpg?width=160" class="catimg" alt="Abandoned Ballroom" title="Saint Dirt Elementary School: Abandoned Ballroom" /></a>
                      
                      
                      
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    By Pierre-Jean Lavigne

    
      <i>in</i> <a class="out" href="http://www.douzepouces.com/wordpress/?p=4293">CISM</a> (Qu&eacute;bec), October 2, 2011
    
  

  

  
    
      
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              “T’es un <em>winner</em> et la journ&eacute;e est encore jeune.”
            
          
        
          
            <p>&Ccedil;a c’est la musique que tu &eacute;coutes quand tu quittes un party de bureau dans lequel tu as trop bu. Pas «ah, j’ai trop bu, demain je ne pourrai peut-&ecirc;tre pas aller faire du hiking au Vermont &agrave; 7 heures du mat». Nonononon. Je parle de «Ah, j’ai trop bu! J’ai dans&eacute; tout seul sur le nouveau single de Maroon 5 et cont&eacute; des jokes vraiment d&eacute;plac&eacute;es &agrave; mes sup&eacute;rieurs avant de faire un tour de cal&egrave;che pour d&eacute;griser, mais, en revenant, j’ai tout fait pour attirer les coll&egrave;gues dans la salle de conf&eacute;rence pour leur faire un show de karaok&eacute;, puis, j’ai &eacute;t&eacute; malade dans la salle de bains du sous-sol (comme un agent secret) pour par la suite faire un black-out dans le bureau du vice-pr&eacute;sident.» Apr&egrave;s ces tristes &eacute;v&eacute;nements, on t’attache tes souliers, puis on te pousse dans la bonne direction, ipod aux oreilles avec <span class="ind">Saint Dirt</span> qui joue &agrave; 10. Tant bien que mal, tu te rends chez toi, pleins de bleus et de regrets avec le peu de conscience qu’il te reste pour dormir sur le c&ocirc;t&eacute; afin de ne pas t’&eacute;touffer sur ta bile en dormant. Mais c’pas grave, ti-gars, le lendemain tu te r&eacute;veilles, les lumi&egrave;res allum&eacute;es, encore habill&eacute;, avec un seul verre de contact dans les yeux pour trouver dans tes poches un certificat de 50$ &agrave; la SAQ gagn&eacute; la veille quand ton nom a &eacute;t&eacute; pig&eacute; dans un chapeau. T’es un <em>winner</em> et la journ&eacute;e est encore jeune.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Revue &amp; corrigée #89 by Various artists</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20110926</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20110926</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/rc_89/" title="Revue & corrig&eacute;e #89"><img src="http://www.electrocd.com/res/image.php/couv/rc_89.jpg?width=160" class="catimg" alt="Revue & corrig&eacute;e #89" title="Various artists: Revue & corrig&eacute;e #89" /></a>
                      
                      
                      
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      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/rc_89/" class="cat" class="t">Revue & corrig&eacute;e #89</a>
      by Various artists,
      
      
      the latest addition to our shop.
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      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4550</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4550</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/am_206/" title="24 Frames — Scatter"><img src="http://www.electrocd.com/res/image.php/couv/am_206.jpg?width=160" class="catimg" alt="24 Frames — Scatter" title="Tim Brady: 24 Frames — Scatter" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2011/09/2011-09-26-tim-brady-marc-ducret.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), September 26, 2011
    
  

  

  
    
      
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              “… a tour de force that brings back the fact that, beyond his symphonies and multimedia projects, <span class="ind">Tim Brady</span> remains an exceptional guitarist…”
            
          
        
          
            <p> [Translation] It took <span class="ind">Tim Brady</span> five years to complete <span class="t">24 Frames</span>, a series of 24 solo and duo pieces for electric guitar and electronics. On record, <span class="t">24 Frames</span> is split across two separate releases. Released earlier this year, <span class="t">24 Frames: Trance</span> features the last six “frames” on a CD accompanied by a DVD. <span class="t">24 Frames: Scatter</span> features pieces 1 through 18 on two CDs. Disc 1 contains six duos with members of <span class="ind">Bradyworks</span> and <span class="ind">Quasar</span>, plus other musicians. Jazz singer <span class="ind">Karen Young</span> is the most surprising duettist here, in <span class="w">Frame 1: Scatter</span>, but the best track is <span class="w">Frame 2: In Almost Unison</span> with baritone sax player <span class="ind">Jean-Marc Bouchard</span>. Disc 2 features 12 short pieces for solo electric guitar grouped in three cycles, with and without electronics — a tour de force that brings back the fact that, beyond his symphonies and multimedia projects, <span class="ind">Tim Brady</span> remains an exceptional guitarist and a commanding composer for his instrument. Recommended.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4551</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4551</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/victo_120/" title="Envoi"><img src="http://www.electrocd.com/res/image.php/couv/victo_120.jpg?width=160" class="catimg" alt="Envoi" title="Bill Dixon: Envoi" /></a>
                      
                      
                      
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    By Florence Wetzel

    
      <i>in</i> <a class="out" href="http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1353">The Squid’s Ear</a> (USA), September 26, 2011
    
  

  

  
    
      
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              “<span class="t">Envoi</span> is an indispensable release. Period.”
            
          
        
          
            <p>In a recent article on the late great trumpeter <span class="ind">Bill Dixon</span> (1925-2010), the newspaper’s purported photo of <span class="ind">Dixon</span> was actually a photo of multi-instrumentalist <span class="ind">Giuseppi Logan</span>. Jazz fans were understandably miffed by the blatant error; as Squid’s Ear writer <span class="ind">Kurt Gottschalk</span> wryly noted on Facebook, “<span class="ind">Giuseppi Logan</span> looks about as much like <span class="ind">Bill Dixon</span> as a saxophone looks like a trumpet.”</p> <p>And yet, it’s highly probable that <span class="ind">Dixon</span> would have been amused by the snafu. In jazz historian <span class="ind">Ben Young</span>’s essential bio-discography <span class="t">Dixonia</span>, <span class="ind">Dixon</span> states, “The way to get me away from something is have everybody dig it — then I’m off and running.” <span class="ind">Dixon</span> was a man who always went his own way, often spending years ignoring the public eye and the music marketplace. This is one of the reasons why someone of his enormous talent and intelligence is not better known, despite his major contributions to jazz history, which include his role as organizer and producer of the seminal October Revolution in Jazz in 1964, as well as founder of the equally seminal Jazz Composers Guild in 1965.</p> <p>Releases by <span class="ind">Dixon</span> have always been cause for celebration, and that’s particularly true now with <span class="t">Envoi</span>. A recording of <span class="ind">Dixon</span> and a staggeringly talented band at the 2010 Victoriaville Festival in Quebec, this turned out to be <span class="ind">Dixon</span>’s last concert and last recording — in fact, he died a few weeks after the festival. <span class="t">Envoi</span> consists of two long sections performed by nine musicians, including <span class="ind">Taylor Ho Bynum</span>, <span class="ind">Ken Filiano</span>, and the luminous <span class="ind">Warren Smith</span>. <span class="ind">Dixon</span> provided the music and the direction, and although he didn’t actually play at the concert, he provided a brief prerecorded solo at the beginning of Section II entitled <span class="w">Shrike</span>. The solo is a powerhouse: <span class="ind">Dixon</span> shreds sound, and then shreds those shreds in an absolute burning fury.</p> <p>Overall <span class="t">Envoi</span> is a stunningly beautiful work that the listener will return to again and again. The work has the grandeur and mystery of the <span class="ind">Miles Davis</span>-<span class="ind">Gil Evans</span>’ masterpiece <span class="w">Sketches of Spain</span>, but unlike that work, where a perfectly aligned orchestra provides a steady foil for <span class="ind">Davis</span>, the horns here have no security whatsoever. Foreground and background shift constantly as the brass drops back and the rhythm section moves forward, and beautiful melodic lines often end abruptly or dissolve into distortion. <span class="ind">Dixon</span> has created a field of sound where just about anything can emerge, and as each section unfolds the listener is entranced by the harmonic interweaving, and enfolded into the music’s profound emotional depths.</p> <p>The word “envoi” means a brief stanza that concludes certain forms of poetry, and one can certainly look at this concert as a work that concludes a long and important career. The CD itself also has an envoi: at the end of the concert the audience breaks into enthusiastic applause, and then <span class="ind">Dixon</span> makes the following statement: “It is not so easy to attempt doing what you want to do in front of people who know what they would like for you to do. So, one does one’s best, always, and one hopes for the best, always. Thank you.”</p> <p><span class="t">Envoi</span> is an indispensable release. Period.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrivals</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20110919</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20110919</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2011-09-19T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/en/cat/br_326/" title="At Christ Church Deer Park"><img src="http://www.electrocd.com/res/image.php/couv/br_326.jpg?width=160" class="catimg" alt="At Christ Church Deer Park" title="The Element Choir, William Parker: At Christ Church Deer Park" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/br_325/" title="Abandoned Ballroom"><img src="http://www.electrocd.com/res/image.php/couv/br_325.jpg?width=160" class="catimg" alt="Abandoned Ballroom" title="Saint Dirt Elementary School: Abandoned Ballroom" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/br_324/" title="Janela"><img src="http://www.electrocd.com/res/image.php/couv/br_324.jpg?width=160" class="catimg" alt="Janela" title="Thomas: Janela" /></a>
                      
                      
                      
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      <p>
        
        We have added 3 items to our shop today:
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    <li>
      <a href="http://www.actuellecd.com/en/cat/br_326/" class="cat" class="t">At Christ Church Deer Park</a>
      by <a href="http://www.actuellecd.com/en/bio/elementchoir_th/" class="bio" class="ind">The Element Choir</a>, <a href="http://www.actuellecd.com/en/bio/parker_wi/" class="bio" class="ind">William Parker</a>
    </li>
    
    
  

  

  

  

  
    
    
    <li>
      <a href="http://www.actuellecd.com/en/cat/br_325/" class="cat" class="t">Abandoned Ballroom</a>
      by <a href="http://www.actuellecd.com/en/bio/saintdirtelementarys_/" class="bio" class="ind">Saint Dirt Elementary School</a>
    </li>
    
    
  

  

  

  

  
    
    
    <li>
      <a href="http://www.actuellecd.com/en/cat/br_324/" class="cat" class="t">Janela</a>
      by <a href="http://www.actuellecd.com/en/bio/thomas_/" class="bio" class="ind">Thomas</a>
    </li>
    
    
      </ul>
      
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        We invite you to check them out!
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