It has been 20 years since the Jazzlab Orchestra, founded among others by doublebassist Alain Bédard, has been offering inventive, creative, and audacious jazz. (Glissement du temps, meaning Slip of Time) is another milestone of quality in the discography of the ensemble. Refined atonality, finely constructed and harnessed polyrhythm that induces a planned imbalance, polytonality that eradicates any banality, impressionist touches that have something almost poetic—this is the impressive specification of all the scholarly techniques made available to this all-star band “made in Montreal.”
ALBUM LAUNCH CONCERT ON APRIL 30 2026, AT DIÈSE ONZE JAZZ CLUB, MONTREAL
A dozen big names from the Montreal scene share the fates of the various pieces in the program. There are never fewer than five, often seven to nine, which creates a rich, generous sound space. The writing dares to embrace contemporaneity, particularly atonality, but does not dwell on it dogmatically. The necessity of groove, here airy yet firmly present, takes precedence over what could have become academicism.
Different atmospheres, dressed in very varied textures, are drawn in each piece, written by almost as many artists: François Bourassa (excellent Amigos, well rooted in contemporary and scholarly hard bop), Gentiane MG (the pianist’s impressionistic sophistication is well recognised in Murs de verre), Erik Hove (alert and playful pen in Outer Chamber), Claire Devlin (superb Night Bus, perhaps my favourite of the album, which propels us at a sustained, pleasant pace into the nocturnal Montreal), Pierre de Bethmann (EMT, which means “at the same time,” and which skilfully overlays various textures) and Michel Lambert (two tracks: Thanks Collier, the most audacious of the lot, and the strange La Mule, which seems to sway like an indecisive animal).
We can only tip our hats very high to the exceptional quality of the ensemble and individual playing in this demanding program, even for the most formidable performers. Very great art, of high intellectual level, yes, but which can be listened to super well even by the rookiest ears of contemporary jazz.
It should be noted that this album is a testament to Mario Allard’s very last solo recorded in studio, in Murs de verre by Gentiane MG. Allard left us suddenly in 2025. He was a legend in the Montreal jazz ecosystem.
The album is released everywhere on April 10, but is already available on Bandcamp (see below). Note that the vinyl version includes four tracks, while the CD version has seven. Three other tracks from this recording will also be released later in the year, in the form of a complementary EP.
Mario Allard – Alto & Bari Sax (1-3)
Annie Dominique – Alto, Soprano & Tenor Sax,
Bass Clarinet
Claire Devlin – Soprano & Tenor Sax
Erik Hove – Alto Sax, Flute (4, 6, 7)
Jacques Kuba Séguin – Trumpet (1-3, 5)
Nicolas Riverin – Trumpet (4, 6, 7)
Thomas Morelli-Bernard – Trombone
Michael Johancsik – Tenor Sax, Flute (6)
François Bourassa – Piano (2, 3)
Marie-Fatima Rudolf – Piano (1, 4-7)
Alain Bédard – Bass
Michel Lambert – Drums
