Cerbère “Entêté” dans le Journal de Montréal

Gentil cerbère du jazz

Gentil cerbère du jazz

Comme disait si bien l’ami Georges Brassens, il faut parfois avoir la foi du charbonnier. En ces temps où la musique se dématérialise de plus, et où il n’est certainement pas toujours facile d’émerger, de jeunes loups se lancent dans l’arène. Quand le blogueur reçoit un mot gentil de la part d’une formation au nom prédestiné : Cerbère, bien, il fait une écoute attentive. Composé de Mäiko Dubuc au piano, Rémi Morissette à la guitare, Christian Pamerleau à la batterie et Sébastien Pellerin à la contrebasse, ce quartet naissant vient de lancer Entêté !

 

Comme toujours, il n’y a point de standards à l’horizon, mais bien 11 plages personnelles aux accents poétiques, finement jouées. Très Bill Evans dans l’âme, avec un soupçon d’Hank Jones, c’est à notre humble avis le pianiste Maïko Dubuc qui remporte la palme, avec un jeu fluide et constant, sans jamais oublier ses comparses. Son jeu, sans toutefois innover en matière harmonique, offre une sonorité brillante et un toucher bien à lui, comme nous pouvons le constater avec la pièce –phare Entêté , ainsi que dans Mouvement perpétuel. À bien y penser, nous trouvons aussi dans cette formation, une filiation avec le trio MISC, soit celui du pianiste Jérôme Beaulieu. Se reposant aussi sur ses accompagnateurs, les phrases respirent et témoignent de l’intelligence du propos.

Si l’art du trio fut souvent évalué, nous pouvons affirmer que ces quatre musiciens ont de beaux jours devant eux, pourvu que vous leur donniez votre appui, coup de pouce nécessaire à l’éclosion de nouveaux talents d’ici, précisons-le.

CHRISTOPHE RODRIGUEZ

 

Lucie Martel “Listen” dans Quartier Libre

LISTEN, LE PREMIER EP DE LUCIE MARTEL

Par Emeline Andreani
jeudi 15 septembre 2016
Listen, le premier EP de Lucie Martel

Lucie Martel s’est aussi produite comme choriste pour Charles Aznavour et Grégory Charles. Photo: courtoisie Frédérique Bérubé.
Listen, le premier EP de la jeune diplômée de l’UdeM en interprétation chant jazz, Lucie Martel, sort aujourd’hui, le 15 septembre. Le début d’une nouvelle aventure pour la chanteuse montréalaise.

Après un an et demi de préparation, le premier EP de la diplômée de l’UdeM en interprétation chant jazz Lucie Martel est maintenant disponible. Il mélange l’univers du jazz, de la pop et de l’électro. « J’écoute différents styles de musique, confie-t-elle. Par exemple, des chanteuses jazz comme Becca Stevens et Joni Mitchell que j’aime beaucoup ou le chanteur James Blake qui est un peu plus électro. »

À la fois auteure, compositrice et interprète, Lucie a toutefois fait appel à d’autres artistes pour son album. « C’est vraiment un mélange de collaborations et de mes propres compositions », se félicite-t-elle. On retrouve ainsi des créations comme Love in 7 beats, composée par Vincent Lachaine ou encore Première neige, écrite par la parolière Rosalie Tremblay.

Lucie invite les plus curieux à venir découvrir son univers musical ce jeudi à 17h, à la salle de spectacle O Patro Vys, pour le lancement de son EP. A l’occasion, deux choristes viendront l’accompagner. La soirée se clôturera par une discussion autour d’un verre. « C’est vraiment une rencontre avec les gens, affirme-t-elle. L’idée de cet évènement-là, c’est vraiment de partager. »

Listen est la 22e parution de la jeune étiquette montréalaise Multiple Chord Music. Fondée par deux anciens étudiants de l’UdeM, Gabriel Vinuela et Alex Lefaivre, cette société de distribution numérique a déjà travaillé avec des artistes comme Parc x TryoAndy King Group ou Frédéric Alarie.

Frédéric Alarie  “Undertaking” dans Bird is the Worm

Fred Alarie Duo – Undertaking (Multiple Chord Music)

Fred Alarie Duo - "Undertaking"A riveting set of dialogues between bassist Frédéric Alarie and trumpeter Jacques Kuba Séguin.  The fact that this recording is likely to get filed under avant-garde might draw attention away from the sublime beauty this duo generates with a melodic succinctness and a strong spatial awareness.  The result is music better suited for quieter moments when the need for serenity is high.  That said, there’s plenty of volatility when the duo wants to conjure it up, but never to the point where that abiding, odd serenity is ever at risk.  A very cool recording.

Artist site | Buy:  eMusic – Amazon

https://www.birdistheworm.com/?s=alarie

Jason Stillman “Prelude” on All About Jazz

 Jason Stillman: Prelude
Jason Stillman: Prelude

Alto saxophonist Jason Stillman’s Montreal-based quartet makes its recorded debut on Prelude, a sunny and engaging blend of Stillman originals and jazz standards whose spacious boundaries provide ample room for ardent blowing, especially by Stillman and pianist Josh Rager. Although the group has been a working unit for more than five years, Stillman waited until the time was right before entering a studio, and his patience has paid dividends, as the group dynamic is impressive throughout.

As for the music, it was clearly chosen with care, with Stillman’s five handsome compositions supplemented by Allie Wrubel / Herb Magidsen’s lovely “Gone with the Wind,” Duke Ellington‘s luminous “Prelude to a Kiss” and the tantalizing finale, Fats Waller/ Andy Razaf’s “Keepin’ Out of Mischief Now.” Stillman is an elegant straight-ahead soloist whose tone and phrasing are remindful of such contemporaries as Vincent HerringKenny Garrett and Bobby Watson, with an occasional nod to earlier trailblazers including Lou DonaldsonHerb Geller and Frank Morgan. The references, however, are always oblique, as Stillman takes care not to emulate anyone.

The session opens on an upbeat note with Stillman’s buoyant “Temporary Insanity,” which precedes “Gone with the Wind” and two more winners by the leader, “Suicide Squeeze” (he does have a knack for creating catchy song titles) and “Ulysses.” “Kiss” is followed by the robust “Quartet Blues,” warmhearted “Tribute” and easygoing “Keepin’ Out of Mischief.” Bassist Paul Rushka states his case earnestly on “Wind” and “Mischief,” drummer Dave Laing on “Suicide Squeeze” and “Quartet Blues.” As for Rager, he’s a smart, confident soloist who shines in every setting. Together, Stillman and his teammates have produced an introductory recording whose concept and execution are admirable, a singularly likable album that is definitely worth hearing and savoring more than once.

Jack BowersBy JACK BOWERS

Five questions for Mark Nelson from the Ottawa Citizen

Five questions for Mark Nelson

The young Montreal drummer steps out with his group, Mark Nelson’s Sympathetic Frequencies, plays Saturday night at GigSpace in Ottawa and Sunday at Upstairs Jazz Bar and Grill in Montreal.

Mark Nelson’s Sympathetic Frequencies

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The young Montreal drummer Mark Nelson’s been featured as an exciting and propulsive sideman on more than a few fine albums and concerts that I’ve taken in over the last few years, playing with the noteworthy groups Field Trip, Parc-X Trio and pianist David Ryshpan’s Trio Bruxo, to name a few.

He steps out this weekend as the leader of his own quartet, Mark Nelson’s Sympathetic Frequencies, with a concert Saturday night at GigSpace in Ottawa followed by a gig Sunday at Upstairs Jazz Bar and Grill in Montreal.

Here’s a sense of what you can expect from the group which also includes saxophonist Mike Bjella, pianist Andrew Boudreau, and bassist Nicolas Bédard, followed by a little Q&A with Nelson.

Can you give me your musical bio in brief — where did you grow up? When did you interests in drumming and jazz kick in? When and why did you go to school in Montreal?

Originally from Calgary, I began drumming at the age of 15. Not long after, my interest in jazz music arose. Two years later I found myself in Wellington, New Zealand furthering my pursuit of music in the form of a Bachelors Degree. An interesting time to be down there, what with all the hobbits running around! Upon recommendation from a professor who had lived in Montréal during the ’80s coupled with my intrigue about the culture I applied to McGill University for graduate studies. Ten years later I find myself coming full circle to finish the degree I initially set out to obtain.

2. I’m only heard you so far as a sideman in other leader’s groups, such as Field Trip.

What’s different about the music you get to make with your own band?

I’m in the composer’s hot seat now! With the other groups mentioned, they function(ed) somewhat like collectives with an open invite for compositional input. However I shied away from assuming that role as the other members were already so strong with their compositional voice. During that period I focused more of being the best interpreter of music that I could be. There’s still a sort of pressure in my group because all the members are leaders themselves. The difference is I’m embracing that challenge now!

3. Tell me the story of the group. Why did you start it? Why pick the people that you did to play in it? What goals do you have for the group with respect to its repertoire, direction and concertizing?

The group and its music was born out of the desire to communicate and connect with people. All the members perform music with that priority and are very multifaceted, authentic and aware individuals. It’s inspiring for me to be surrounded by this group of “jazz gents.”

As my cousin, composer, sound engineer and keyboardist for the Northern Pikes, said to me when he heard I was pursuing music: “The trick is to keep on doing it.”

4. Do you have any role models / inspirations when it comes to bands and band-leading?

A list of inspirational bands could be a little extravagant as I do enjoy variety. As far as bandleaders are concerned, a leader who catalyses the event without over-involvement is both inspirational and mysterious to me. Miles Davis and Wayne Shorter and well-known examples. During a masterclass at McGill last year, Shai Maestro spoke of this very dilemma he had gone through as a bandleader. The challenge of: “If you love something, set it free…” – Richard Bach

5. What’s your take on the Montreal jazz scene and in particular on what your peers are doing? Do you ever think of relocating to make music elsewhere, be it Toronto or Vancouver or Brooklyn or Berlin?

There is definitely creative things happening in Montréal: jazz labels, Jazz Composers Series, L’Off Festival de Jazz… It feels to me like there’s still room to move here, space for new jazz music to exist.

Some of my friends and colleagues are making a go it in the cities you mentioned, they’d probably say the same as me for their communities. Having been to all those places, my intrigue lies with Berlin. What a challenge: another language to learn!

Andy King Group “Modern Fiction” dans La Prese

Andy King Group : primé à l’Off Jazz ***1/2

Lauréate 2014 du prix François-Marcaurelle, remis à un musicien ou un groupe...

ALAIN BRUNET
La Presse

Lauréate 2014 du prix François-Marcaurelle, remis à un musicien ou un groupe s’étant distingué à l’Off Jazz de Montréal, la formation du trompettiste et compositeur Andy King propose quelques actualisations jazzistiques, sorte de préambule à un projet compositionnel qui pourrait se révéler passionnant.

La pièce-titre de l’album est un plat principal de 18 minutes, mijoté de jazz nouveau, jazz électrique des années 60-70 (Miles Davis, Soft Machine, etc.) et diverses variantes rock – prog, métal, space, psychédélique. Compositions généralement intéressantes, exécution et impros de très bon niveau, tant collectives qu’individuelles, avec Alain Bourgeois, batterie, Sébastien Pellerin, basse et contrebasse, Nicolas Ferron, guitare, David Bellemarre, saxo ténor. Andy King s’y avère un authentique leader, un soliste chevronné et un compositeur en développement, à suivre de près.

À écouter : Modern Fiction

JAZZ

Andy King Group

Modern Fiction

*** 1/2

Multiple Chord Music

Publié le 19 octobre 2014 à 05h30 | Mis à jour le 19 octobre 2014 à 05h30

 http://www.lapresse.ca/arts/musique/critiques-cd/201410/17/01-4810142-andy-king-group-prime-a-loff-jazz-12.php

Marjorie Fiset “Janvier Achève” dans ICI Québec

Marjorie Fiset : Un album personnel sur le thème de la transition

Marjorie Fiset lance son premier album solo, Janvier achève

Marjorie Fiset lance son premier album solo, Janvier achève