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Critiques récentes
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Recensionepar Aurelio Cianciotta in Neural (Italie), 16 septembre 2008 |6486|
«It is a collage of sound involving different genres and different listening dimensions.»
Aimé Dontigny is based in Québec and is certainly a compositor who can’t be easily categorized. He is the founding member of the free noise collective Napalm Jazz, and the animator for the No Type label, which has released his second album. This is a work that brings together a decade of recordings and well-conceived musical projects in seventeen ‘urticant’ and hyper-vivid tracks. The listener is presented with abstract and twisted sounds, a sum of samples, fragments, inspired lucubrations and a very pondered plunderphonic approach. It is a collage of sound involving different genres and different listening dimensions. The record recaptures some historical avant-garde strategies in a timely mix of emotional issues, for example in the surrealist cut-upping. The 20th century avant-garde used to be primeval forms of modernity that are today ‘inflected’ in fruitful experiments, glitches and oblique literary references (not by chance — rather ‘canonical’ references such as William S Burroughs, Anthony Burgess and Guy Debord; representatives of a poetic and antagonist deconstructionism). Geisteswissenschaften is on the sidelines of electroacoustic, electronica and audio-art, and is a compelling work. It is certainly not for everyone, though at the same time the album does not require too many conceptual superstructures. Recensione
«Un collage sonoro che investe più generi e dimensioni d’ascolto, espressione
artistica…»
Di base in Québec, Aimé Dontigny, si rivela senz’altro compositore che sfugge a catalogazioni precise, fondatore e membro del collettivo free-noise Napalm Jazz, animatore della stessa etichetta, la No Type, sulla quale vede adesso la luce questo Geisteswissenschaften’, sua seconda opera, una raccolta che accomuna oltre un decennio d’incisioni e ben rimestati progetti musicali, condensati in diciasette urticanti ed ipervivide tracce, astratte e contorte, sommatoria di sample, frammenti, elucubrazione ispirata e messa in pratica d’un approccio plunderphonico accuratamente meditato. Un collage sonoro che investe più generi e dimensioni d’ascolto, espressione artistica che in musica recupera quelle maniere delle avanguardie storiche, puntuali nella miscellanea emotiva dei temi — nel cut-upping di matrice surrealista, ad esempio — primigenie forme del moderno, oggi modulate ancora in fecondi sperimentalismi, gliccerie ed obliqui trasalimenti letterari (non a caso sintonizzati sui riferimenti alquanto ‘canonici’ di certo decostruzionismo poetico ed antagonista… leggasi William S Burroughs, Anthony Burgess, Guy Debord…). Ai margini dell’elettrocustica, dell’elettronica e dell’audio-art Geisteswissenschaften è comunque un opera avvincente per fruizione, certo non per tutti ma neanche — nell’approcciarla — particolarmente bisognosa di troppe sovrastrutture concettuali.
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Lancementspar Gabriel Bélanger in SOCAN, Paroles & Musique #15:3 (Canada), 15 septembre 2008 |3636|
«ce disque est un bel exemple d’une musique qui, malgré sa complexité, ne devient pas
hermétique.»
La pianiste montréalaise Brigitte Poulin interprète pour nous les œuvres de quatre importants compositeurs canadiens. James Harley, Ana Sokolovic, Denys Bouliane et Paul Frehner prêtent ainsi leur musique à cette interprête de grand talent qui évolue avec brio dans les nombreuses sphères de son instrument. Elle explore en effet avec beaucoup d’à-propos les “édifices naturels” construits pas ces créateurs. D’une écoute facile, ce disque est un bel exemple d’une musique qui, malgré sa complexité, ne devient pas hermétique.
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Lancementspar Gabriel Bélanger in SOCAN, Paroles & Musique #15:3 (Canada), 15 septembre 2008 |3635|
«Il réussit encore une fois à surprendre avec ses savants dosages et sa direction
impeccable.»
Installé à Montréal depuis 2004, le saxophoniste argentin Damian Nisenson nous présente son plus récent album, enregistré en concert en décembre 2007. Doté d’une expérience et d’une versatilité hors du commun, il met à profit sa grande créativité afin d’être toujours à l’avant-garde de la musique contemporaine. Il réussit encore une fois à surprendre avec ses savants dosages et sa direction impeccable. Le plaisir incroyable du premier abord ne se dément pas mais demeure plutôt comme un incitatif à une écoute plus approfondie.
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Critiques de disquespar Pierre Durr in Revue & Corrigée #77 (France), 1 septembre 2008 |3642| ![]() ![]() ![]()
«Les nouveaux labels canadiens semblent relativement ouverts et non dévolus à quelques
formes musicales très précises, à la manière de nombreux petits producteurs européens.»
Est-ce circonstantiel ou serait-ce une orientation plus générale? Toujours est-il que les nouveaux labels canadiens semblent relativement ouverts et non dévolus à quelques formes musicales très précises, à la manière de nombreux petits producteurs européens. Barnyard Records, à travers ces quatre enregistrements, s’inscrit un peu dans la lignée d’Ambiances Magnétiques par un éclectisme évident, non sans humour d’ailleurs, côtoyant aussi bien le rock (avec une approche évidemment déstructurée), le jazz et l’improvisation. Basé à Toronto, il est une émanation du batteur Jean Martin, qui émarge dans les trois premières références citées. Barnyard Drama a tout du happening rock, dans lequel l’improvisation suit une ligne directrice assez concise, véhiculée par les entrelacs des deux guitares aux sons incandescents, elles-mêmes propulsées par la batterie de Jean Martin. L’un des deux guitaristes n’est autre que Bernard Falaise, souvent présent sur les enregistrements québécois. L’auditeur pense parfois aux délires d’Amon Düül (celui de Paradieswärstdüül ou de Collapsing) avec plus de rigueur, d’autant plus que la voix de Christine Duncan adopte aussi (en particulier sur Invisible) les intonations de Renate Knaup (référence cette fois-ci à Amon Düül II). Si le duo de Jean Martin avec le saxophoniste Evan Shaw relève plutôt d’un jazz assez cool (c’est sans doute le sens du titre Piano Music sur un enregistrement dépourvu de notes issues d’un clavier) malgré un jeu de percussion assez atypique, celui que présente le batteur (ici usant d’autres instruments) avec Colin Fisher (saxophoniste lui aussi multi instrumentiste) s’inscrit davantage dans l’univers des musiques de traverses (pour reprendre un vocable des années 80) avec une variété d’approches, passant du bruitisme atmosphérique (et mélodieux) à une sorte de jazz rock électrifié, ou à des séquences hautement improvisées. C’est à des improvisations plus nettement dissonantes et sans assise rythmique, que l’on pourrait presque qualifier d’intégristes, que s’attaquent la clarinettiste montréalaise Lori Freedman et le tromboniste de Toronto, Scott Thomson, mêlant, sauf dans l’une ou l’autre pièce en soliste, les effets peu conventionnels tirés de leurs instruments respectifs, en jouant aussi bien de leur timbre spécifique que des sonorités annexes qu’ils suscitent. Parfois sèches et âpres, celles-ci peuvent aussi ^tre empreintes d’humour, voire de tendresse.
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CD / DVD / LP / MP3par James Hale in Signal to Noise #51 (ÉU), 1 septembre 2008 |3631|
«The most exciting guitarist to emerge from Quebec since René
Lussier»
The most exciting guitarist to emerge from Quebec since René Lussier, Montreal’s Bernard Falaise moves easily between rock-influenced wailing with such bands as Les Projectionnistes, writing for film and dance, and impressionistic electro-acoustic ensemble work. Clic finds him squarely in the latter category, in the company of some of Canada’s best improvisers, including multi-reedist Jean Derome, clarinetist Lori Freedman, trombonist Tom Walsh, marimba-player Julien Grégoire and drummer Jean Martin. Like Martin, whom Falaise has joined recently in the Barnyard Drama quartet, the guitarist has a love of sound montages and headlong rhythms and a knack for moving adroitly between disparate source materials. Following hard on the digital cut-and-paste of Allô, the hard-driving Tricheur throws the listener into a spiral of fuzzed-out guitar, thorny trombone, irrepressible percussion and electronic effects. While there is no shortage of attention-snapping jump-cuts in Falaise’s music, he manages to make them appear organic, even when (as on Tour) moving between sweetly voiced acoustic material and hardedged electronics. Falaise’s manipulation of found sounds and samples grab the ear, as well as his rhythmic sense and humor, but it is the real-time contributions by the whole ensemble that give Clic its warmth. Together they make this sophomore effort a compelling listening experience.
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Live Reviews: Festival international de musique actuelle de Victoriavillepar Michael Chamberlain in Signal to Noise #51 (ÉU), 1 septembre 2008 |3630| While the 2008 edition marked the 25th anniversary of the Festival international de musique actuelle de Victoriaville, and while the festival grid looked, in some respects, like a tribute to certain mainstays of the festival that’s not quite the way that Victo’s director, Michel Levasseur, set out to put the milestone program together. The 25th anniversary nonetheless has a resonance for many people, Levasseur found. “You can’t hide the reality of this history,” he said in an interview before the festival. “Some people have 25 years of marriage. Some people think of where they were 25 years ago. Some of our audience weren’t even born then. […]” And there was, in fact, a certain symmetry to the lineup, with Jean Derome et les Dangereux Zhoms + 7 and John Zorn’s project The Dreamers opening the festival at 8 and 10 pm respectively. Both Derome and an expanded lineup of Les Dangereux Zhoms and Zorn’s Dreamers delivered performances that demonstrated that their leaders were still making interesting, relevant music. Les Dangereux Zhoms did two pieces. The first, Traquen’Art, was first performed late last year in homage to the Montreal production company of the same name, while the second, Plateforme, was a premiere, written in tribute Levasseur’s creation and life work. With the lineup expanded to include the voice of Joane Hétu, the reeds of Lori Freedman, and the turntable of Martin Tétreault, among others, the two compositions encompassed a wide palette that drew together almost everything Derome has done over the past thirty years. Ranging from delicate interplay between voice, violin and viola to full-on collective improvisation with screeching guitar and muted trombone pyrotechnics, the music exploded generic considerations in the best Victo tradition. […] A lot of festival-goers skip the midnight shows, but this year’s edition featured two of the best I have seen in a decade of attending the festival, the Friendly Rich Show on Thursday and Michel F Côté’s post-rock soul sextet (juste) Claudette on Sunday. […] While the collective intrigue of the three Thursday concerts were hard to match, there was much to savor over the weekend. Among these […] the premiere performance by the trio of René Lussier, Martin Tétreault and Otomo Yoshihide, whose nakedly human endeavors to improvise as a trio had to overcome their long histories of playing with one another in duos, the results demonstrating both the promise and the pitfalls of improvised music.
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Live Reviews: Suoni per il Popolopar Lawrence Joseph in Signal to Noise #51 (ÉU), 1 septembre 2008 |3629| The eighth annual Suoni per il Popolo spanned a month and covered a huge range of musical genres. Over 50 concerts took place in two venues located across the street from each other in Montreal’s artist-filled Mile End neighborhood. It gave fans of free jazz, experimental rock, avant folk, contemporary classical, electronic, and improvised musics plenty to get excited about. Add a workshop with the Sun Ra Arkestra, street performance art, DJ sets and an outdoor day of music and children’s activities, and you have an unbeatably eclectic event. […] The festival kicked off with two shows that exemplified what it does best. The more intimate Casa del Popolo was the venue for a free jazz blowout with saxophonist Glen Hall, bassist Dominic Duval, and drummer William Hooker, […] Hall keeps a relatively low profile, despite having studied with Ligeti and Kagel and played with the likes of Roswell Rudd, Jimmy Giuffre and John Scofield. The compositions in the first set paid tribute to some of his influences, while the second set shifted to freely improvised territory, with Montreal’s young trumpet luminary Gordon Allen sitting in to add blistering sound blasts and overblowing to the mix. At times this resembled the more noise-based music Hooker has made with Thurston Moore. […] Allen was a fixture at the festival, playing in seven shows during the month, including guitarist Rainer Wiens’ version of Riley’s In C. Another evening featured the debut of All Up In There, a trio of Allen, Michel F Côté on percussion, and Frank Martel on Theremin. Martel often played the theremin as if it were a stand-up bass, while Côté, when not playing kit, obtained a surprising variety of sounds from winging two mics around Pignose amps. The overall effect was more like a group of virtuosic Martians than a standard jazz trio. […] Christof Migone’s performance piece Hit Parade took place outside on a busy Saint-Laurent Boulevard, taking over the sidewalk and one lane of traffic. Eleven people lay face down on the pavement, each pounding a microphone into the ground exactly one thousand times, at varying speeds. The sound of a giant asynchronous metronome prompted ironic thoughts in this listener about the usual meaning of the phrase “hit music,” and about pounding the pavement as a metaphor for life. […] The Quatuor Bozzini, a string quartet dedicated to contemporary music, performed a selection of pieces by experienced improviser/composers. Malcolm Goldstein’s four-part structured improvisation A New Song of Many Faces for in These Times (2002) was by turns gentle and harsh, agitated and introspective, as melodic and rhythmic fragments were passed from one member of the quartet to another. Goldstein himself performed Hardscrabble Songs, a 13-minute solo piece for voice and violin. Jean Derome and Joane Hétu’s Le mensonge et l’identité (“Lies and Identity”) is an hour-long tour de force with a strong socio-political component. The Bozzinis’ spoken contributions (both live and on prerecorded tape) ranged from pithy quotes from philosophers and politicians to personal anecdotes. The music deliberately unraveled into chaos, the players moving music stands and chairs about the room in response to unsynchronized metronomes, tipping over stands as the scores on them were completed. […]
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Destination Outpar David Dacks in Exclaim! (Canada), 1 septembre 2008 |3628|
«This is a lovely recording of a band that have gradually expanded from a quartet to a
truly orchestral sound.»
This is a lovely recording of a band that have gradually expanded from a quartet to a truly orchestral sound. Several generations of Montreal musicians participate in this project, which displays a wonderful variety of approaches to improvisation, from myriad takes on noise to European classical derivations or the bluesiest of wails. These noir-ish, expansive compositions are obviously influenced by Sun Ra, but in the right ways. Ratchet master Nicolas Caloia never indulges in lame, quasi-mystic space motifs; rather he finds inspiration in the orchestral sounds of Ellington, Ra’s former boss Fletcher Henderson and occasionally, Egyptian icon Om Khalsoum. With over 27 players in the orchestra, seemingly every instrument is doubled, if not tripled up. A large contingent of strings makes for some arresting ensemble sounds, as in the beguiling Carmine and the initial part of T(h)rust. The large scale improvs (Alan Silva, etc.) of the ’60s also come to mind but this disc’s stylistic range, contemporary electric sounds and overall gusto never sound like revisionism. My big gripe is the cover art, which has feathers glued all over the spine. My allergies and my computer’s CD drive curse you for this poor design choice.
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Reviewpar David Fujino in The Live Music Report (Canada), 1 septembre 2008 |3627|
«These players freely ’play the music’ — and therefore gift us with their
sonic imagination, individual experience, and far-reaching intuition.»
Avant players Lori Freedman and Scott Thomson converse easily throughout these nine recorded tracks of engaging free improvisation. Each has a solo track, but otherwise they’re playing spacious, structurally aware, highly sensitive duets. Trombonist Thomson frequently senses mood changes and adjusts (Leak), while clarinetist Lori Freedman expresses her ideas in well-structured outflows (The Plummet). Also, they employ extended (and invented) techniques to project their imaginations through sound — or through mixtures of sound and silence, to be more exact. While I know it’s a cliché, I have to say that Freedman and Thomson ’play so human’ in this recording, and their axis of mind, body, and breath, literally breathes in these sonically free and surprising, well-shaped improvisations. These players freely ’play the music’ — and therefore gift us with their sonic imagination, individual experience, and far-reaching intuition.
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Reviewpar Bruce Lee Gallanter in Downtown Music Gallery (ÉU), 29 août 2008 |3633|
«I was consistently blown away by the diverse results and sonic textures that both of these
magicians/musicians have given to us worthy and demanding listeners.»
Quebec-based guitarist, Antoine Berthiaume, excels in duo situations, having recorded with master guitarists Derek Bailey and Fred Frith as well as with another guitarist, Takumi Seino and MaryClare Brzytwa on flute and electronics. NY guitar hero, composer, producer and multi-bandleader, Elliott Sharp, also thrives in duo settings with guitar greats like Nels Cline and Scott Fields, as well as with Bobby Previte, Zeena Parkins and Franck Vigroux. Both of these guitarists have their own, distinctive and diverse approaches to playing their guitars, so some of their sounds are not always that guitar-like. Layers of strange electronic sounds, manipulated feedback, bent-note e-bow drones, shimmering static, difficult-to-describe noise, howling ghost-like voices, weird sonic mutations, warped string fluctuations and ancient sounding electro-acoustic music is how I would explain some of these fascinating sounds. It does sound as if Elliott is using his laptop and Antoine, his devices to alter many of these sounds beyond their recognizable string-induced sounds. Each of the eleven pieces evokes a different mood and sets up different scenery. I was consistently blown away by the diverse results and sonic textures that both of these magicians/musicians have given to us worthy and demanding listeners.
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Reviewpar Dolf Mulder in Vital #641 (Pays-Bas), 25 août 2008 |3626|
«A fascinating work that leads us into the world of microtonality.»
A fascinating work that leads us into the world of microtonality. “Shruti is a Sanskrit word to denote pitch and interval. A word that also means ‘that which is heard, and the smallest intervals of pitch or the spaces between notes’. Ganesh Anandan was born in Bangalore City (south India). He studied Karnatic music before moving to Canada in 1976. Sound designer, composer, musician and instrument maker John Gzowski also studied karnatic music, played oud and guitar in jazz and folk festivals. With his own ensemble he toured Canada with a repertoire of Harry Partch compositions. Gzowski makes his first appearance in the catalogue of Ambiances Magnétiques, but he has many albums out. With very different musical and cultural backgrounds Anandan and Gzowski share their interest for microtonality. They met in 1996 when Gzowski invited Anandan for his micro-tonal Critical Band at The Music Gallery in Toronto, Canada. Gzowski works with a set of self designed micro-tonal guitars and stringed instruments. Anandan works with self built melodic percussion and string instruments based on the Indian Shruti system. To be more precise, on this new cd we hear Anandan playing a self-built electric 12-string shruti stick, plus metallophones, knajira, moorching, tincan and voice. Gzowski uses the Harry Partch guitar, 19_tone guitar, electric Dowel, ukelin and bells. For their Shruti Project they improvise and mix Indian, Indonesian and western musical styles very fluently and intelligently. Each piece opens a new world. Because they play on unknown and self-built instruments we hear new sounds, news colors. Also the music impresses as we hear very unusual tunings, strange textures and rhythms. It is difficult not to become fascinated by these enchanting interventions. Nonetheless not all improvisations worked for me, and left me with something missing. But all in all this is a very interesting meeting of east and west under the parameters of microtonality.
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Reviewpar Dolf Mulder in Vital #641 (Pays-Bas), 25 août 2008 |3625|
« Poulin’s choice offers a good insight into the richness of
modern composed piano-music, and in Poulin we meet an accomplished
and warm-hearted musician.»
Poulin is a classically trained pianist. Her repertoire covers all relevant periods, but she feels strongly attracted to modern classical music. Because of this she founded Trio Phoenix (flutes, cello and piano), an ensemble entirely dedicated to new music. Besides she worked with a great diversity of musicians and ensembles. “For a decade, Brigitte Poulin has been commissioning and premiering works by composers who, she thought, could help better define our own piano culture.” From this experience she choose four recent works that found their way to this CD: James Harley’s Édifices Naturels (2000), Ana Sokolovic’s Danses et Interludes (2003), Denys Bouliane’s Contredanse du silène Badouny (1998) and Paul Frehner’s Finnegans Quarks Revival (2005-07). At the same she introduces four composers that were unknown to me... The composition by Harley consists of two parts. The first one bursts of energy. The second one is quiet and calm. The composition of Ana Sokolovic is inspired on Balkan dance music. It consists of six dances and three interludes. As you can imagine rhythm is a dominant aspect here. The short work by Bouliane is a very ingenious and subtle composition. Finnegans Quarks Revival by Frehner is the longest work of the four. In eight parts this work evokes very different moods during its 35 minutes. Poulin’s choice offers a good insight into the richness of modern composed piano-music, and in Poulin we meet an accomplished and warm-hearted musician.
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Critiquepar Nicolas Pelletier in emoRAGEi (Québec), 20 août 2008 |3624|
«Le jeu de batterie de Côté est, comme d’habitude,
magnifique.»
Avec ce mélange de jazz déjanté, de «bruitisme» improvisé et de «beats» solides, le remarquable batteur Michel F Côté a cette fois les deux pieds dans la musique actuelle. Rien à voir avec le précédent album, Flat fourgonnette (Mescal free style) et son blues tribal (et quand même bien modifié) paru en 2005. Cet album en format quintet sous le nom (juste) Claudette a beau être bordélique, le tout n’est pas désagréable pour autant. Bernard Falaise est à son meilleur lorsqu’il utilise sa guitare pour générer des paysages sonores grandioses, mais il sombre malheureusement parfois dans la multitude de «petits mottons» de notes dissonantes. Des collaborateurs de longue date, Alexandre St-Onge, Jesse Levine et Gordon Allen, complètent l’équipe. Le jeu de batterie de Côté est, comme d’habitude, magnifique. Si spectaculaire, mais parfois tellement simple qu’on n’écoute que ça. Son instrument a une sonorité parfaite qui pourrait servir à de super «loops» pour des remixeurs comme Amon Tobin ou Moby. Qu’elle soit en avant-plan ou utilisée comme simple support, sa batterie est le centre d’attention. La sonorité de ce batteur, maintenant âgé de 50 ans, est tout simplement excellente, capable de rock, de pur jazz ou de lounge au détail près.
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Reviewpar Dolf Mulder in Vital #638 (Pays-Bas), 5 août 2008 |3621|
«And many of their compositions are catchy.»
Like most CDs released on this label, the cd by the Ironico Orkestra is by a duo: Luzio Altobelli (accordeon, melodica) and Guillaume Bourque (clarinets). For their debut they took inspiration from traditional folk music of italian, jewish or other origin. Altobelli was active in the Montréal scene with his group Manouche for more than eight years. If the name does not mislead us, a group that focused on Django Reinhardt-like gipsy music. We find him also on Fanfare Pourpour recordings. With Passeggiata dei buddies he releases his first cd with this duo that was formed in 2004. Guillaume Bourque was also member of Manouche. Later he often participated in projects of Robert Marcel Lepage and Jean Derome. The duo performed at the Montréal Jazz Festival in 2005. So they had already an history together when they went to the studio for the recording of this album in 2007. Half of the compositions are by Altobelli, the other half by Bourque. The cd opens with Passeggiata I with unisono playing, quickly here after they take different roots, in order to return to unisono passages later. The combination of accordeon and clarinets works out okay. Both of them are good players. And many of their compositions are catchy. In spite of all these positive aspects, the cd failed to attract my attention from beginning to end. In some way it is all to thin. The same pieces re-arranged for a bigger ensemble would satisfy me more. More depth and interplay would be gained then.
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Reviewpar Dolf Mulder in Vital #638 (Pays-Bas), 5 août 2008 |3620|
«… he proves that klezmer ingredients mixed with other influences result in
interesting and vivid music that appeal to many.»
Nisenson with his trio delivers us a more engaging melting pot and he has his biographical reasons for doing so. We will come to that later. Besides Nisenson himself on saxes, we hear Pierre Tanguay (drums) and Jean Félix Mailloux (bass), plus three guests: Ziya Tabassian (percussion), Luzio Altobelli (accordeon) and Denis Plante (bandonéon). Most compositions are by Damian Nisenson himself. We hear a live registration dating from december 2007. Nisenson takes his inspiration from Eastern Europe and Jewish music traditions. We hear many motives that sound familiar with we have heard before on so many klezmer records. Nisenson who grew up in Argentina is of jewish origin. In his youth he was surrounded by an older generation that spoke yiddish. But later he drifted away from his jewish roots. Only much later his jewish roots came back in his thoughts. “And one day I asked myself another question: what would the Jewish music have become if the Shoa — the Holocaust — had not taken place?” We will never know of course. But with this project Nisenson gives in fact his answer to this question by giving room to the jewish culture that is part of his biography. It is not the kind of project that tries to reconstruct as pure as possible the ‘original’ klezmer music, whatever that may be. Nisenson let his jewish motives loosely interfere with other musical traditions that formed Nisenson. With a guest on bandéneon, Denis Plante, it is evident that he also gives room to his Argentinean background. In Paspire his Argentinean roots dominate and the beautiful duet between sax and bandonéon bring that old record by Astor Piazzola and Gerry Mulligan to my mind. Chanson de rue #6 is opened with a Bo Diddly like riff, stating that also rock and roll is a relevant tradition for Nisenson. In the last track — but also in others — Nisenson tries to play like in the typical manner of jewish clarinetplayers, making clear that is above all that Nisenson wants to speak with a jewish voice on this satisfying record. Satisfying because he gives not a boring reproduction of klezmer music, but because he proves that klezmer ingredients mixed with other influences result in interesting and vivid music that appeal to many. actuellecd.com Critiques récentes |
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