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    <title>actuellecd.com - Dépêches</title>
    <link>http://www.actuellecd.com/</link>
    <description>actuellecd.com - Dépêches</description>
    <language>fr-ca</language>
    <pubDate>2012-02-11T00:00:00-06:00</pubDate>
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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4611</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4611</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-02-07T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Guillaume Belhomme

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

  

  
    
      
        <h2>Texte</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>Top 30 de Monsieur Délire 2011</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=nouv-9831</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=nouv-9831</guid>
      <author>web@electrocd.com</author>
      <category>Général</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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/fr/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> annonce son Top 30 des musiques exigeantes qui inclut: <a href="http://www.actuellecd.com/fr/cat/am_207/" class="cat"  class="t">Teoria dell’elasticit&agrave; di Girolamo Papariello</a> de <a href="http://www.actuellecd.com/fr/bio/cote_mi/discog/" class="bio" class="ind">Michel F C&ocirc;t&eacute;</a> et <a href="http://www.actuellecd.com/fr/cat/am_208/" class="cat"  class="t">Filature</a> de <a href="http://www.actuellecd.com/fr/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">Informations d&eacute;taill&eacute;es</a>
                au site 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>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4608</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4608</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 1 f&eacute;vrier 2012
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Un disque solide, autant dans la composition que l’interpr&eacute;tation. Recommand&eacute;.»
            
          
        
          
            <p>Form&eacute; &agrave; l’origine &agrave; l’ccasion d’une visite d’<span class="ind">Anthony Braxton</span> &agrave; Toronto, l’<span class="ind">AIMToronto Orchestra</span> (Association of Improvising Musicians — Toronto) a poursuivi sa course et publie maintenant son premier album studio. L’orchestre compte 17 membres jouant presque exclusivement des instruments acoustiques. Au menu, sept compositions provenant de ses membres <span class="ind">Justin Haynes</span>, <span class="ind">Kyle Brenders</span>, <span class="ind">Joe Sorbara</span> et <span class="ind">Germaine Liu</span>. Les trois pi&egrave;ces de <span class="ind">Brenders</span> sont longues, m&eacute;thodiques et souvent minimalistes — des explorations r&eacute;ussies des possibilit&eacute;s de l’orchestre. Les deux pi&egrave;ces de Haynes, plus courtes, sont tordues et fac&eacute;tieuses, rappelant l’&eacute;criture de <span class="ind">Ren&eacute; Lussier</span>. Un disque solide, autant dans la composition que l’interpr&eacute;tation. Recommand&eacute;.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4609</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4609</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-02-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 1 f&eacute;vrier 2012
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Une musique s&eacute;rieuse mais pas studieuse, exigeante mais jamais forc&eacute;e»
            
          
        
          
            <p>Un solide concert d’improvisation libre enregistr&eacute; en avril 2010 &agrave; Toronto. Tr&egrave;s belle complicit&eacute; entre la trompette de <span class="ind">Rampersaud</span> et le saxophone d’<span class="ind">Evan Shaw</span> (on pourrait ais&eacute;ment croire que certaines lignes ont &eacute;t&eacute; &eacute;crites). Le travail du percussionniste <span class="ind">Tomasz Krakowiak</span> demeure myst&eacute;rieux — ce Polonais produit des textures tr&egrave;s subtiles qui s’entrem&ecirc;lent au reste. Une musique s&eacute;rieuse mais pas studieuse, exigeante mais jamais forc&eacute;e.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4606</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4606</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-01-30T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 30 janvier 2012
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Une session de 40 minutes habit&eacute;e par une belle intensit&eacute; et quelques surprises, dont l’apparition d’un daxophone»
            
          
        
          
            <p><span class="ind">Evan Parker</span> excelle dans les rencontres ad hoc entre improvisateurs. <span class="t">At Somewhere There</span> le pr&eacute;sente dans un concert torontois en compagnie du bassiste <span class="ind">Wes Neal</span> et du percussionniste <span class="ind">Joe Sorbara</span>. Une session de 40 minutes habit&eacute;e par une belle intensit&eacute; et quelques surprises, dont l’apparition d’un daxophone si je ne m’abuse.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Nouvel arrivage: D’Harmo par D’Harmo</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20120127</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20120127</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2012-01-27T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    <p>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/dh_01/" class="cat" class="t">D’Harmo</a>
      par <a href="http://www.actuellecd.com/fr/bio/dharmo_/" class="bio" class="ind">D’Harmo</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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D’Harmo</a>
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4605</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4605</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-01-25T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 25 janvier 2012
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Un bel enregistrement avec le po&egrave;te <span class="ind">Fortner Anderson</span> qui r&eacute;cite et habite ses textes»
            
          
        
          
            <p>Un bel enregistrement au studio 270, avec le po&egrave;te <span class="ind">Fortner Anderson</span> qui r&eacute;cite et habite ses textes (pr&eacute;sent&eacute;s comme des extraits d’un journal intime), accompagn&eacute; des improvisateurs <span class="ind">Michel F C&ocirc;t&eacute;</span>, <span class="ind">Alexandre St-Onge</span> et <span class="ind">Sam Shalabi</span>, soit presque <span class="ind">Klaxon Gueule</span>. Des textes sombres, des musiques qui grincent.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4603</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4603</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-01-16T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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> (&Eacute;U), 16 janvier 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/fr/select/blogue/?id=press-4602</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4602</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2012-01-12T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 12 janvier 2012
    
  

  

  
    
      
        <h2>Texte</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>Nouveaux arrivages</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20120102</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20120102</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2012-01-02T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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/fr/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="Artistes divers: Revue & corrig&eacute;e #90" /></a>
                      
                      
                      
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      <p>
        Nous avons ajout&eacute; 2 articles &agrave; notre boutique
        aujourd’hui:
        
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      <a href="http://www.actuellecd.com/fr/cat/nuun_008/" class="cat" class="t">The Dunrobin Session</a>
      par <a href="http://www.actuellecd.com/fr/bio/oliveros_pa/" class="bio" class="ind">Pauline Oliveros</a>, <a href="http://www.actuellecd.com/fr/bio/stewart_je/discog/" class="bio" class="ind">Jesse Stewart</a>
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    <li>
      <a href="http://www.actuellecd.com/fr/cat/rc_90/" class="cat" class="t">Revue & corrig&eacute;e #90</a>
      par Artistes divers
    </li>
    
    
      </ul>
      
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        Nous vous invitons &agrave; les d&eacute;couvrir!
        
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      <title>Review</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4599</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4599</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-12-26T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Frans de Waard

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/812.html">Vital</a> #812 (Pays-Bas), 26 d&eacute;cembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «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/fr/select/blogue/?id=press-4600</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4600</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-12-26T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Frans de Waard

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/812.html">Vital</a> #812 (Pays-Bas), 26 d&eacute;cembre 2011
    
  

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4598</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4598</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-12-21T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Marc Medwin

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

  

  
    
      
        <h2>Texte</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>Nouvel arrivage: Solitary Pleasures par Fortner Anderson</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111215</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111215</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-12-15T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/etpages_avril/" class="cat" class="t">Solitary Pleasures</a>
      par <a href="http://www.actuellecd.com/fr/bio/anderson_fo/discog/" class="bio" class="ind">Fortner Anderson</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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      <title>8 déc au 8 jan: Grande vente de Noël de DAME</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=nouv-9827</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=nouv-9827</guid>
      <author>web@electrocd.com</author>
      <category>Général</category>
      <pubDate>2011-12-08T00:00:00-06:00</pubDate>
      <description>
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        <p>Le temps des f&ecirc;tes approche et voil&agrave; que <span class="ind">DAME</span> vous offre de nouveau sa grande vente de No&euml;l! Du <span class="date">8 d&eacute;cembre 2011</span> au <span class="date">8 janvier 2012</span>, recherchez les &eacute;tiquettes rouges pour choisir parmi plus de 80 titres offerts de 25% jusqu’&agrave; 50% de rabais!</p> <ul> <li><span >Consulter la liste des articles «&Eacute;tiquette rouge»</span></li> </ul> <p></p>
      
    
  

  
  
  
  
  
  
  
    
  

  
    
    
    
      
        
  
        
          
        
      
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4586</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4586</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-12-01T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par 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> (&Eacute;U), 1 d&eacute;cembre 2011
    
  

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4593</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4593</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-12-01T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Daniele Camerlengo

    
      <i>in</i> <a class="out" href="http://www.musicajazz.it/reviews/609">Musica Jazz</a> (Italie), 1 d&eacute;cembre 2011
    
  

  

  
    
      
        <h2>Texte</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>Nouvel arrivage: À chacun sa miniature par Quatuor Bozzini</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111130</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111130</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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="Quatuor Bozzini: &Agrave; chacun sa miniature" /></a>
                      
                      
                      
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    <p>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/cqb_1113/" class="cat" class="t">&Agrave; chacun sa miniature</a>
      par <a href="http://www.actuellecd.com/fr/bio/quatuorbozzini_/discog/" class="bio" class="ind">Quatuor Bozzini</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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&Agrave; chacun sa miniature</a>
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      <title>Review</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4587</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4587</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Ken Waxman

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

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4588</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4588</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-30T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 30 novembre 2011
    
  

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4581</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4581</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-29T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par 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), 29 novembre 2011
    
  

  

  
    
      
        <h2>Texte</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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      <title>Nouvel arrivage: Nos enfants par YUL</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111123</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111123</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-11-23T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/fr/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>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/mam_013/" class="cat" class="t">Nos enfants</a>
      par <a href="http://www.actuellecd.com/fr/bio/yul_/" class="bio" class="ind">YUL</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
    </p>
  

  

  
    
    

    
      
        
  
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<li class="radio" id="radio-cat_mam_013">
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Nos enfants</a>
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4579</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4579</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-22T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 22 novembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Une œuvre dense, synth&eacute;tique, mais accessible et qui porte encore ses racines rock-in-opposition.»
            
          
        
          
            <p>Il aura fallu cinq ans &agrave; <span class="t">Filature</span> pour passer de la sc&egrave;ne au disque. Entretemps, le th&eacute;&acirc;tre sonore de <span class="ind">Joane H&eacute;tu</span> a poursuivi son &eacute;volution vers des formes nettement plus d&eacute;pouill&eacute;es. Dans le cheminement qui, &agrave; ce jour, l’a men&eacute; de <span class="t">Musique d’hiver</span> &agrave; <span class="t">La Femme territoire</span>, <span class="t">Filature</span> fait office de point tournant, de carrefour entre plusieurs approches pass&eacute;es, pr&eacute;sentes et futures. Elle int&egrave;gre texte, danse et projection vid&eacute;o (ces deux derniers aspects &eacute;tant absents du disque) — voie que la dame poursuivra ensuite beaucoup plus loin — mais se fonde sur la vie ant&eacute;rieure de l’artiste qui a &eacute;t&eacute; tisserande. Le texte raconte cette exp&eacute;rience, exp&eacute;rience qui nourrit la structure m&ecirc;me de l’œuvre: un premier mouvement de <span class="w">Cha&icirc;ne</span> interpr&eacute;t&eacute; uniquement par les hommes (<span class="ind">Del Fabbro</span>, <span class="ind">Derome</span>, <span class="ind">Guilbeault</span>, <span class="ind">Tanguay</span>, <span class="ind">Venba</span>); un deuxi&egrave;me mouvement de <span class="w">Trame</span> interpr&eacute;t&eacute; par les femmes (<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>); enfin, un mouvement de <span class="w">Motif</span> auquel tous participent. Le pendant masculin est m&eacute;trique, r&eacute;p&eacute;titif, “ground&eacute;”; le pendant f&eacute;minin est a&eacute;rien, cr&eacute;atif, fantasque; le dernier mouvement combine le tout — et semble combiner tout le bagage de <span class="ind">H&eacute;tu</span>, de <span class="ind">Wondeur Brass</span> et <span class="ind">Justine</span> &agrave; <span class="ind">Nous per&ccedil;ons les oreilles</span>, en passant par <span class="t">Musique d’hiver</span>. Une œuvre dense, synth&eacute;tique, mais accessible et qui porte encore ses racines rock-in-opposition.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4577</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4577</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-18T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par 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), 18 novembre 2011
    
  

  

  
    
      
        <h2>Texte</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>Nouvel arrivage: Anuraaqtuq par Tanya Tagaq</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111115</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111115</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-11-15T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    <p>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/victo_121/" class="cat" class="t">Anuraaqtuq</a>
      par <a href="http://www.actuellecd.com/fr/bio/tagaq_ta/" class="bio" class="ind">Tanya Tagaq</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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Anuraaqtuq</a>
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4585</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4585</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-15T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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> (&Eacute;U), 15 novembre 2011
    
  

  

  
    
      
        <h2>Texte</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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      <title>Review</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4576</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4576</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-14T00:00:00-06:00</pubDate>
      <description>
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                          <a href="http://www.actuellecd.com/fr/bio/derome_je/discog/" title="Jean Derome"><img src="http://www.electrocd.com/res/image.php/photo/derome_je.5968.jpg?width=160" /></a>
                        
                      
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    Par John Murph

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

  

  
    
      
        <h2>Texte</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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      <title>Disques</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4573</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4573</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-07T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par Luc Bouquet

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

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4571</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4571</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-05T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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>
                  
                  
                  
                    
  
    Par Ken Waxman

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

  

  
    
      
        <h2>Texte</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>Nouvel arrivage: Filature par Joane Hétu</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111104</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111104</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-11-04T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/am_208/" class="cat" class="t">Filature</a>
      par <a href="http://www.actuellecd.com/fr/bio/hetu_jo/discog/" class="bio" class="ind">Joane H&eacute;tu</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_am_208">
  <a href="http://www.actuellecd.com/fr/radio/?poste=cat_am_208" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Filature</a>
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      <title>Review</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4572</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4572</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-04T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/fr/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>
                  
                  
                  
                    
  
    Par 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> (&Eacute;U), 4 novembre 2011
    
  

  

  
    
      
        <h2>Texte</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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      <title>Nouvel arrivage: Lieux imaginés par Cordâme</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111103</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111103</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-11-03T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/mam_015/" class="cat" class="t">Lieux imagin&eacute;s</a>
      par <a href="http://www.actuellecd.com/fr/bio/cordame_/discog/" class="bio" class="ind">Cord&acirc;me</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
    </p>
  

  

  
    
    

    
      
        
  
  <ul class="radio-list">


<li class="radio" id="radio-cat_mam_015">
  <a href="http://www.actuellecd.com/fr/radio/?poste=cat_mam_015" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Lieux imagin&eacute;s</a>
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4569</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4569</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-02T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
                  
                  
                  
                    
  
    Par 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), 2 novembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «<span class="t">Migration</span> &eacute;tait d&eacute;j&agrave; tr&egrave;s solide, mais <span class="t">Lieux imagin&eacute;s</span> souligne une &eacute;criture d’une richesse et d’une finesse que d&eacute;ment presque son accessibilit&eacute;.»
            
          
        
          
            <p>Le trio &agrave; cordes du contrebassiste <span class="ind">Jean-F&eacute;lix Mailloux</span> s’am&eacute;liore d’un disque &agrave; l’autre — en fait, il fait carr&eacute;ment des pas de g&eacute;ants. <span class="t">Migration</span> &eacute;tait d&eacute;j&agrave; tr&egrave;s solide, mais <span class="t">Lieux imagin&eacute;s</span> souligne une &eacute;criture d’une richesse et d’une finesse que d&eacute;ment presque son accessibilit&eacute;. Treize pi&egrave;ces portant pour titres des noms de villes que <span class="ind">Mailloux</span> n’a jamais visit&eacute;. <span class="w">Santiago</span> et <span class="w">Dans la t&ecirc;te de M. Sakamoto</span> ressortent du lot. Une influence <span class="ind">Bar Kohkba</span>, une influence tango, mais une &eacute;criture toute personnelle.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4570</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4570</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-11-02T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par 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), 2 novembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Elle crie, hurle, jappe et jouit, transmuant les &eacute;motions les plus ataviques en un chant sid&eacute;rant. Et ce soir l&agrave;, elle a atteint un sommet in&eacute;gal&eacute; de son art […]»
            
          
        
          
            <p>&Agrave; la sortie de ce concert, en mai 2010, nous savions tous que nous venions de vivre un moment magique, d’une force inou&iuml;e. Puis le temps fait son œuvre et on commence &agrave; douter; on revoit l’artiste dans des prestations subs&eacute;quentes, et on doute encore. Arrive enfin <span class="t">Anuraaqtuq</span> et oui, c’&eacute;tait bien vrai, c’&eacute;tait vraiment un moment magique, que ce disque a merveilleusement pr&eacute;serv&eacute;. <span class="t">Anuraaqtuq</span> est le premier disque documentant le <span class="ind">Tanya Tagaq</span> trio tel qu’il œuvre depuis 2009. Avec le batteur <span class="ind">Jean Martin</span> et le violoniste <span class="ind">Jesse Zubot</span>, la chanteuse inuit s’&eacute;loigne de sa pop m&eacute;tiss&eacute;e pour plonger t&ecirc;te premi&egrave;re dans l’improvisation libre ultra-&eacute;motive. Elle crie, hurle, jappe et jouit, transmuant les &eacute;motions les plus ataviques en un chant sid&eacute;rant. Et ce soir l&agrave;, elle a atteint un sommet in&eacute;gal&eacute; de son art, devant un public qui, contrairement &agrave; son habitude &agrave; elle, buvait tout cela et en redemandait. Une communion comme j’en ai rarement vu et entendu dans ma vie, mais qui, lorsque j’en suis t&eacute;moin, se produisent au FIMAV et nulle part ailleurs.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Nouveaux arrivages</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111031</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111031</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-10-31T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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/fr/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>
                      
                      
                      
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      <p>
        Nous avons ajout&eacute; 2 articles &agrave; notre boutique
        aujourd’hui:
        
      </p>
      
      <ul>
    
    
    <li>
      <a href="http://www.actuellecd.com/fr/cat/et_15/" class="cat" class="t">Solitary Pleasures</a>
      par <a href="http://www.actuellecd.com/fr/bio/anderson_fo/discog/" class="bio" class="ind">Fortner Anderson</a>
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      <a href="http://www.actuellecd.com/fr/cat/am_207/" class="cat" class="t">Teoria dell’elasticit&agrave; di Girolamo Papariello</a>
      par <a href="http://www.actuellecd.com/fr/bio/mechafixesclocks_/" class="bio" class="ind">Mecha Fixes Clocks</a>
    </li>
    
    
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      <p>
        Nous vous invitons &agrave; les d&eacute;couvrir!
        
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4568</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4568</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-27T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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>
                      
                      
                      
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    Par 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), 27 octobre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Diff&eacute;rent et &agrave; l’&eacute;gal des disques pr&eacute;c&eacute;dents. Longue vie et renouvellement prolong&eacute; &agrave; ce grand projet!»
            
          
        
          
            <p>Le projet <span class="ind">Mecha Fixes Clocks</span> de <span class="ind">Michel F C&ocirc;t&eacute;</span> poursuit son errance: apr&egrave;s un album chez alien8 et un autre chez &records, en voici un troisi&egrave;me chez Ambiances Magn&eacute;tiques. Enregistr&eacute; l’an dernier au Studio 270, ce disque propose un nouvel alignement (<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>). La musique, quant &agrave; elle, demeure myst&eacute;rieuse et changeante: improvisations texturales, &eacute;l&eacute;ments rythmiques et m&eacute;lodiques sugg&eacute;r&eacute;s par moments, confluences d’id&eacute;es synerg&eacute;tiques qui donnent une impression de volont&eacute; complexe plut&ocirc;t que de chaos. Diff&eacute;rent et &agrave; l’&eacute;gal des disques pr&eacute;c&eacute;dents. Longue vie et renouvellement prolong&eacute; &agrave; ce grand projet!</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4566</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4566</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-18T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 18 octobre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Du bonbon, un coup de cœur imm&eacute;diat.»
            
          
        
          
            <p>Un deuxi&egrave;me album pour <span class="ind">Saint Dirt Elementary School</span>, l’ensemble dirig&eacute; par le joueur de lap steel <span class="ind">Myk Freedman</span>. Et c’est un grand pas en avant, un disque splendide, plein de courtes pi&egrave;ces na&iuml;ves, jolies &agrave; sourire irr&eacute;sistiblement. L’ouverture <span class="w">As America Crumbles, I Sit in My Room Dreaming Up Silly Songs</span> a un c&ocirc;t&eacute; Klimperei indubitable (le glockenspiel), alors que les rythmes latino de <span class="w">Zombies Love Dancin’ to this Number</span> &eacute;voquent <span class="ind">Jono El Grande</span> forniquant avec <span class="ind">Perrey &amp; Kingsley</span>. Ailleurs, on sent des affinit&eacute;s franches avec la <span class="ind">Fanfare Pourpour</span>, les <span class="ind">Pascals</span> et le d&eacute;funt duo su&eacute;dois <span class="ind">Sagor &amp; Swing</span>. Du bonbon, un coup de cœur imm&eacute;diat.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4567</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4567</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-18T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 18 octobre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «45 minutes de bonheur, pour faire suite au premier disque du grand ensemble d’improvisation vocale dirig&eacute; par <span class="ind">Duncan</span>.»
            
          
        
          
            <p>Lors d’une soir&eacute;e-lancement organis&eacute;e par l’&eacute;tiquette Barnyard Records, se sont trouv&eacute;s simultan&eacute;ment sur sc&egrave;ne le trio <span class="ind">Lewis/Downing/Martin</span>, <span class="ind">William Parker</span> et l’<span class="ind">Element Choir</span> de <span class="ind">Christine Duncan</span>. R&eacute;sultat: 45 minutes de bonheur, pour faire suite au premier disque du grand ensemble d’improvisation vocale dirig&eacute; par <span class="ind">Duncan</span>. Pas aussi grandiose et r&eacute;v&eacute;lateur, mais un effort plus qu’honn&ecirc;te. En fait, les premi&egrave;res 20 minutes sont splendides — belle synergie entre l’orgue d’&eacute;glise, le chœur et les autres instrumentistes. La pi&egrave;ce perd de l’&eacute;clat ensuite. Commencez par <span class="w">At Rosedale United</span>.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4565</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4565</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-10T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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="Quatuor Bozzini: Le mensonge et l’identit&eacute;" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/fr/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="Quatuor Bozzini: Sens(e) Absence" /></a>
                      
                      
                      
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    Par Dolf Mulder

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

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «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>Nouvel arrivage: 24 Frames — Scatter + Trance par Tim Brady, Martin Messier</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111008</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20111008</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-10-08T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/am_905/" class="cat" class="t">24 Frames — Scatter + Trance</a>
      par <a href="http://www.actuellecd.com/fr/bio/brady_ti/discog/" class="bio" class="ind">Tim Brady</a>, <a href="http://www.actuellecd.com/fr/bio/messier_ma/discog/" class="bio" class="ind">Martin Messier</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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  <a href="http://www.actuellecd.com/fr/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/fr/select/blogue/?id=press-4564</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4564</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-08T00:00:00-06:00</pubDate>
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                          <a href="http://www.actuellecd.com/fr/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/fr/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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    Par Fran&ccedil;ois Dunlop

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

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4561</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4561</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-06T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 6 octobre 2011
    
  

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4562</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4562</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-06T00:00:00-06:00</pubDate>
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                          <a href="http://www.actuellecd.com/fr/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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    Par 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), 6 octobre 2011
    
  

  

  
    
      
        <h2>Texte</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/fr/select/blogue/?id=press-4557</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4557</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-05T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.jazzword.com/review/127576">The WholeNote</a> #17:2 (Canada), 5 octobre 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/fr/select/blogue/?id=press-4560</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4560</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-05T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Ken Waxman

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

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «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/fr/select/blogue/?id=press-4555</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4555</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-10-02T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par Pierre-Jean Lavigne

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

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «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>Nouvel arrivage: Revue &amp; corrigée #89 par Artistes divers</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20110926</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20110926</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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="Artistes divers: Revue & corrig&eacute;e #89" /></a>
                      
                      
                      
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    <p>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.actuellecd.com/fr/cat/rc_89/" class="cat" class="t">Revue & corrig&eacute;e #89</a>
      par Artistes divers,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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      <title>Journal d’écoute</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4550</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4550</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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), 26 septembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… un tour de force qui rappelle qu’au del&agrave; de ses symphonies et de ses projets multim&eacute;dia, <span class="ind">Tim Brady</span> demeure un guitariste d’exception…»
            
          
        
          
            <p>Il aura fallu cinq ans &agrave; <span class="ind">Tim Brady</span> pour compl&eacute;ter son projet <span class="t">24 Frames</span>, une s&eacute;rie de 24 solos et duos de guitare &eacute;lectrique et &eacute;lectroniques. Sur disque, <span class="t">24 Frames</span> se d&eacute;compose en deux parutions. <span class="t">24 Frames: Trance</span>, paru plus t&ocirc;t cette ann&eacute;e, regroupe les pi&egrave;ces 19 &agrave; 24 sur un CD accompagn&eacute; d’un DVD. Les pi&egrave;ces 1 &agrave; 18 viennent de para&icirc;tre sur le CD double <span class="t">24 Frames: Scatter</span>. Le premier disque propose six duos avec des membres de <span class="ind">Bradyworks</span> et de <span class="ind">Quasar</span>, ainsi que d’autres musiciens. La chanteuse de jazz <span class="ind">Karen Young</span> est la plus &eacute;tonnante du lot, dans <span class="w">Frame 1: Scatter</span>, mais c’est <span class="w">Frame 2: In Almost Unison</span> avec le saxo baryton <span class="ind">Jean-Marc Bouchard</span> qui est la plus r&eacute;ussie. Le disque 2 propose 12 courtes pi&egrave;ces pour guitare &eacute;lectrique solo, regroup&eacute;es en trois cycles, avec ou sans effets — un tour de force qui rappelle qu’au del&agrave; de ses symphonies et de ses projets multim&eacute;dia, <span class="ind">Tim Brady</span> demeure un guitariste d’exception et un compositeur de grand int&eacute;r&ecirc;t pour son instrument. Recommand&eacute;.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Heard In</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=press-4551</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=press-4551</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2011-09-26T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.actuellecd.com/fr/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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    Par 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> (&Eacute;U), 26 septembre 2011
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «<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>Nouveaux arrivages</title>
      <link>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20110919</link>
      <guid>http://www.actuellecd.com/fr/select/blogue/?id=catalogue-20110919</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2011-09-19T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/fr/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/fr/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/fr/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>
        Nous avons ajout&eacute; 3 articles &agrave; notre boutique
        aujourd’hui:
        
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      <ul>
    
    
    <li>
      <a href="http://www.actuellecd.com/fr/cat/br_326/" class="cat" class="t">At Christ Church Deer Park</a>
      par <a href="http://www.actuellecd.com/fr/bio/elementchoir_th/" class="bio" class="ind">The Element Choir</a>, <a href="http://www.actuellecd.com/fr/bio/parker_wi/" class="bio" class="ind">William Parker</a>
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    <li>
      <a href="http://www.actuellecd.com/fr/cat/br_325/" class="cat" class="t">Abandoned Ballroom</a>
      par <a href="http://www.actuellecd.com/fr/bio/saintdirtelementarys_/" class="bio" class="ind">Saint Dirt Elementary School</a>
    </li>
    
    
  

  

  

  

  
    
    
    <li>
      <a href="http://www.actuellecd.com/fr/cat/br_324/" class="cat" class="t">Janela</a>
      par <a href="http://www.actuellecd.com/fr/bio/thomas_/" class="bio" class="ind">Thomas</a>
    </li>
    
    
      </ul>
      
      <p>
        Nous vous invitons &agrave; les d&eacute;couvrir!
        
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