Damián Nisenson

Live au Upstairs

MAM 011
2009

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Radio ›› Live au Upstairs
Live au Upstairs
Ça coule, ça coule! (2009), 6m39s [extrait]
Piste 1 de Live au Upstairs
CD: Malasartes (2009) MAM 011
1 novembre 2010
Par Henryk Palczewski in Informator “Ars” 2 #51 (Pologne), 1 novembre 2010

Coupure de presse

blogue@press-4307 press@4307
1 avril 2010
Par Vincenzo Giorgio in Wonderous Stories #17 (Italie), 1 avril 2010

Texte

Continuando a “gittare” lo sguardo Oltreoceano - grazie agli stimoli che continuano ad arrivarci copiosi dalla canadese Ambiances Magnétiques ci si imbatte, innanzitutto in qualche golosa uscita di…

Jazz deviato

Il Normand Guilbeault Ensemble pubblica un notevole Hommage à Mingus dove - grazie al sestetto allestito dal contrabbassista canadese - vengono riletti sei classici del grande musicista statunitense: molto intensa l’iniziale Passions of a Woman Loved così come il blues malato di Song with Orange.

Su di una frequenza più elettrica si colloca il Pierre Labbé 4tet che con Manivelle sforna un lavoro molto denso ed intimista magnificamente introdotto dalla convincente - ma (pur)troppo breve - Pour le moment. In effetti Labbé si rivela fiatista e compositore molto interessante e “felpato” in grado di far emergere il lato più lirico di due musicisti davvero unici: il chitarrista Bernard Falaise (che abbiamo apprezzato sia nelle scorribande avant di Klaxon Gueule che nei suoi grandissimi lavori solisti) e il percussionista Isaiah Ceccarelli: in Corpus i due forniscono un apporto davvero convincente così come nella rarefatta La Kuchika dove emerge imperioso anche il contrabbasso di Clinton Ryder.

Per rimanere ancora in situazioni più strutturate va menzionato Nozen, (Live! au Upstairs) quartetto che ruota attorno al già noto fiatista Damián Nisenson grazie alla cui penna possiamo godere di un jazz a spiccata propensione etnica. Sorprende la duttilità dell’onnipresente Falaise così come l’efficace panneggio bassistico di Jean Félix Mailloux mentre Pierre Tanguay si conferma batterista in grado unire inventiva musicale a solida strutturazione ritmica.

Ancora più bello - nella sua esotica fragranza - Migration di Cordâme. Si tratta di un sestetto gravitante attorno al già citato Mailloux (che, tra l’altro, firma tutte le tredici tracce) dove - così come il nome del progetto allude - le corde emergono in tutta la loro fragranza mediterranea: il violino di Marie Neige Lavigne, il violoncello di Julie-Odile, le chitarre di Rémi Giguère unitamente all’onnipresente Tanguay e alle percussioni di Ziya Tabassian. Molto bella l’omonima Migration - nella sua purissima arabicità - cosi come il nervoso peregrinare di Trajet.

blogue@press-4128 press@4128
1 février 2010
Par Dionisio Capuano in Blow Up #141 (Italie), 1 février 2010

Texte

Il quartetto formato dall’argentino Damián Nisenson (sassofoni) insieme a Bernard Falaise (chitarra), Jean Félix Mailloux (contrabbasso) e Pierre Tanguay (batteria) è stato uno dei nomi forti del Montreal Yiddish Theatre Festival, la scorsa primavera. Chiaro che si tratti di klezmer jazz e che il primo raffronto si faccia con Masada. I Nozen hanno però una prestanza tutta loro. Sanno gettarsi nel bop (Quien me corre?), descrivere con lenta delicatezza le malinconie dei giorni di festa (Jour de mariage), swingare di notte (A Hole in My Shoes) mantenendo sempre il curioso retrogusto della diaspora e del meticciato.

blogue@press-4069 press@4069
11 janvier 2010
Par Dolf Mulder in Vital #713 (Pays-Bas), 11 janvier 2010

Texte

The continuity of interesting releases by Ambiances Magnétiques is also the case for the sublabel Malasartes Musiques, that was started by Damian Nisenson several years ago. This time Nisenson presents his new group Nozen, a quartet by Pierre Tanguay (drums), Jean Félix Mailloux (bass), Bernard Falaise (guitars) and Nisenson himself on (alt and tenor sax). They interpret 12 compositions by Argentina-born Nisenson that move between jazz, new music and musical traditions of Jewish Eastern Europe. After the revival of klezmer in the 90s, it was also embraced by jazz musicians. Just think of John Zorn’s Masada or Burton Greene’s Klezmokum. Nozen is also exponent of this development as Nisenson also strives above all for a combination of jazz and klezmer. He does so very successfully. Their playing is modest and inspired. The music often starts very calm but gradually effervescent passages takes over and climaxes are reached. Very satisfying are the few tracks where guitarist Falaise impresses with fine solo work and dissonant, like in the opening track and in the fantastic Spread the News. They counterbalance perfectly with the pieces that pass by relatively unnoticed because they are built around klezmer-like themes that sound to common and therefore insignificant. Like the closing track No Milk No Sugar. However after the short silence a new piece begins that is added as a ghost track. This is by far the most experimental track and was probably produced in the studio.

Jean Félix Mailloux is ready for his second record by his group Cordâme (Marie Neige Lavigne - violin, Julie-Odile - violoncello, Rémi Giguere - guitars, Ziya Tabassian - percussion, vibraphone, Pierre Tanguay -drums). Migration draws inspiration from Persian, Indian and Armenian music, and modal and improvised music. In this respect it is a similar project as Nozen, as both integrate eastern musical traditions in a western context. In contrast with Nozen Mailloux moves further east, not only geographically but also in the music he composes. Jazz-influences, as well as other western idioms are less obvious then in the case of Nozen. Mailloux is not interested in opposing or confronting these influences with western traditions. He brings an ode to eastern musical traditions, leaving behind all the ornaments that characterize this music often in its original form. Of course one can hear immediately that the music is played by western players, who - that is also very evident - are very dedicated to this music. It is evident that Mailloux is very fond of eastern music. However the compositions are not always satisfying or engaging from beginning to end. A bit too spun out from time to time. The music often moves along in the same slow - walk like a egyptian - pace. If you can surrender yourself to this it is a very pleasant slow journey. Very organic and pleasing chamber music. Constantly in the same relaxing mood but played very spirited.

With Interview something else is going on. This is the fist solo effort by the young trumpeter Amy Horvey. She works mainly as a contemporary, orchestral and Baroque trumpeter and appeared as a soloist with numerous ensembles and orchestras. On her first solo-album she interprets works from very different composers. The CD opens with Quattro pezzi per tromba sola, a beautiful composition by Giacinto Scelsi. It is followed by pieces from unknown contemporary composers: Musica Invisible (Cecilia Arditto), Interview (Anna Hostman). In Apparatus Inconcinnus (Ryan Purchase) a story of the Russian writer Daniil Charms is read by Horvey, interrupted by instrumental parts. Overture to The Queen of the Music Boxes features Jeff Morton on music boxes, toy instruments and electronics. It sounds like an improvisation, but I can be wrong. To conclude I can say that Horvey made the right decision in including a wide variety of compositions, showing that she feels at home as a trumpeter in very different musical worlds.

blogue@press-4027 press@4027
1 décembre 2009
Par Annie Landreville in La Scena Musicale (Québec), 1 décembre 2009

Coupure de presse

blogue@press-3939 press@3939
12 novembre 2009
Par Christophe Rodriguez in Sorties Jazz Nights (Québec), 12 novembre 2009

Texte

«coulées de lave incandescente comme il se doit, esprit free juste ce qu’il faut, bref, un très grand disque.»

Tiens que voilà un disque réjouissant, sentant bon la poudre et les excès. Dans la mouvance, mais sans copier, nos quatre artilleurs rejoignent les territoires du saxophoniste John Zorn et probablement, en guise de clin d’œil, ceux du regretté Roland Kirk. On ne le mentionnera jamais assez, qu’un concert devant public et sans trop de montage vaut son pesant d’or, justement parce qu’il y a une atmosphère introuvable en studio. Jazz sous haute tension mené de main de maître par le saxophoniste argentin Damian Nisenson, coulées de lave incandescente comme il se doit, esprit free juste ce qu’il faut, bref, un très grand disque.

blogue@press-3915 press@3915

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