The tranquil and (too) discreet music of Missy Mazzoli
by Frédéric Cardin
On Wednesday 28 February, Salle Bourgie welcomed violinist Jennifer Koh and composer and pianist (and keyboardist) Missy Mazzoli for a type of concert that is still rare in Montreal, hence the title of this article. It’s a discreet kind of music, because here in Montreal it’s still under-recognised. Yet Mazzoli is one of the most important musical creators of our time. Elsewhere in English speaking North America, she is a star.
The programme presented in Montreal was part of a tour by the two musicians and friends celebrating fifteen years of collaboration. It featured works by Mazzoli either written for solo violin or as a duo with piano (or synthesiser keyboard). With perfect organic coherence, this programme was deployed like a great thin veil, with undulating movements that swell and deflate the sound fabric, in a stylistic whole that is quite soaring and resolutely post-minimalist.
The final result gives an imperfect idea of Mazzoli’s musical contribution to the early 21st century, for her output is far more complex and fleshed out than yesterday’s relatively monochrome programme. Listen, for example, to her superbDouble Bass Concerto ‘’Dark With Excessive Bright’’, her opera Proving Up, or These Worlds in Us for orchestra, and you’ll get a better idea.
That said, this concert, full of beautiful moments of intangibility and contained spirituality, was important because it presented in Montreal a still too rare concert of what I would describe as real “music of our time”. Scholarly music that blends the need for a return to tonality with the sonic possibilities inherited from the modernist avant-garde, scholarly influences with vernacular, impressionistic and affective atmospheres with textures more akin to indie pop/rock or electro. But, because Montreal has been a strong continental hub of avant-garde post-Boulezian contemporary music, the awareness, even less the appreciation, of newer post-minimalist stuff has been slow coming.
This is not to say that this music is better than ‘traditional’ contemporary avant-garde music. Not. At. All. It’s just a paradigm shift. Traditional contemporary music, with its abrasive and abstract worlds, is in fact a tool, a way of doing things that is hyper-concentrated on intellectual formalism. The result can be works of fabulous, suprasensible beauty. New contemporary music, on the other hand, takes an infinitely more holistic (or inclusive) approach, aiming to create new worlds of sound and, above all, emotion, without denying itself any compositional tool or technique, and shunning concepts of High and Low art.
The first is fuelled by rigorous knowledge, and leads sometimes to emotions. The second is fuelled by emotions and imagination, using a large amount of knowledge that leads to transcendence.
I’d like to thank Olivier Godin, Artistic Director of Salle Bourgie, for his commitment to the development of a Montreal listening culture for this music that we can’t afford to ignore for long.
Friday night at OM: spectacular violin and Fairy sand tales
by Frédéric Cardin
Another symphonic evening that fills the music-loving heart with hope and pride. The Maison symphonique in Montreal was packed to capacity on Friday evening. A colorful, well-diversified crowd, with many young people in attendance. The Orchestre Métropolitain (OM) attracts, and what’s more, with a program of works largely unknown to the general public. Something very positive is happening in Montreal for the future of classical music. In short, my first impression of this evening: a success.
Now for the program and the rendering. Let’s say it right away: it was very enjoyable. Conductor JoAnn Falletta, a pioneer of female conducting in the U.S., addressed the audience in a very correct, respectful French. She set the scene for what was to come with sobriety.
The evening opened with Gustav Holst’s Winter Idyll. A short symphonic poem with a pastoral feel, but with a broad, sometimes cinematic deployment. It evokes a picture of wintry England, shrouded in snow. ‘’A bit like Quebec,” the intro says. I doubt it. Holst wouldn’t have written such relatively serene music if he’d known the Canadian cold. Nonetheless, it’s very pretty and Falletta leads with precision, albeit with a little too much reserve, in my opinion.
The first of the evening’s two “stars” arrived for the second course: the flamboyant violinist Nemanja Radulovic. Long hair down to the middle of his back, wide-ankled pants almost reminiscent of a dress, he represents what in another era purists would have loved to hate. Fortunately, we’re not there anymore. What counts is the music. This one, Aram Khachaturian’s Violin Concerto, clearly required this kind of performer. Movements 1 and 3 are furiously expressed, often bringing us back to the energy of his famous Saber Dance. Then, a central movement full of tenderness but also sadness, with exquisite triple pianissimos from the soloist. I was expecting, however, a brighter, more propulsive sound from him. Instead, he sounded veiled, especially at the beginning of the score, resulting in some imbalances between him and the orchestra, which buried his speech on a few occasions. Things settled down along the way, and the musician’s technical fireworks (what diabolical mastery of his instrument!) lifted the crowd into, shall we say, delirium.
I’d like to note the exceptional playing of a few of the Orchestra’s first chairs: horn player Louis-Philippe Marsolais, who performed to perfection a monstrously difficult solo in the 1st movement, and then, in the same movement, clarinetist Simon Aldrich, in an intimate exchange with Radulovic, who was very attentive (the violinist turned around for this passage, with his back to the audience to better converse with Aldrich). A beautiful moment.
After a prolonged standing ovation, Radulovic finally gave an encore: Što Te Nema by Aleksandar Sedlar, a Bosnian mourning song in which the Serbian violinist demonstrated that he cannot be reduced to a media circus virtuoso. In this piece, which oozes melancholy, he achieves an almost unimaginable degree of dynamic sweetness. What, four or five pianissimos? A needle hitting the carpet would have outdone him. Impressive. Thanks to the Maison symphonique’s mesmerizing acoustics, such incredible music-making can be heard in all its finesse. This piece can be found on Radulovic’s Roots album.
Nemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François GoupilNemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François Goupil
The evening’s other star soloist is not a musician, but a visual artist. Ukrainian sand artist Kseniya Simonova has been travelling the world for several years. She has taken part in, and sometimes won, all kinds of popular competitions such as Got Talent in several countries (Ukraine, Britain, America, etc.). Her work is very beautiful, with a more fluid and animated resemblance to shadow theater techniques.
Last night, she was given the challenge of bringing visual life to the score of Zemlinsky’s The Little Mermaid (Die Seejungfrau). Of course, the subject itself was already well-suited to this kind of animation: a classic fairy tale, evocative visual accompaniment, everything was in place for a relevant marriage. I must admit, I didn’t expect it to be so successful and enchanting. Not only does Zemlinsky’s undulating, post-romantic, impressionistic-tinged music have what it takes to transport the mind and heart, but the virtuoso’s visual artistic technique is perfectly suited to it. Kseniya Simonova, too, transforms her canvas with magical fluidity to the ever-changing music. The beard of Neptune, god of the seas, can become, with remarkable ease and speed, a ship carried by the waves or a starry sky. Before our very eyes, the mermaid’s tail becomes a pair of elegant legs. And so on, so that the audience fully understands what the music is telling (although everyone present must already have known the story by heart).
The beauty of the setting is amplified by the slightly golden color of the tabular backlighting, on which the grains of sand manipulated by the artist twirl, lending an ancient, even timeless aspect to the fantastic panorama unfolding before our eyes. All of this projected onto a giant screen for an enthralled symphony house.
Nemanja Radulovic JoAnna Falletta Orchestre Métropolitain cr.: François Goupil
As I said, the Orchestre Métropolitain outdid itself. But I’d also like to highlight JoAnn Falletta’s clear, solid direction. Without being breathtaking, the conductor imposed order and confidence, leaving enough room for the musicians’ expressiveness. A no-nonsense maestra, devoted to the music and leaving the “show” to those who are paid to do it.
I had a very strong feeling that the largely unaccustomed audience came away from this adventure with a shared sense of satisfaction and wonder. Bravo to OM, that’s exactly what music is for.
Contemporary art music is doing well in Montreal. Yesterday (Tuesday night), a full house (the Espace Bleu in the Wilder complex in the Quartier des Spectacles) hosted Harmonies inouïes (Unheard-of harmonies), a concert by the Quatuor Bozzini, while the day before, the Agora Hydro-Québec in UQAM’s Cœur des sciences gave a full house to the SMCQ. Good news, then. But back to our Bozzinian business. This concert was no easy proposition: four creations of microtonal music by four relatively unknown young composers: Gabriel Dufour-Laperrière, Paolo Griffin, Bekah Simms and Francis Battah (who is nonetheless enjoying a growing reputation).
Paolo Griffin’s Adherence is a rather monochrome (or should we say microchrome?) exercise that places the listener in a kind of sonic microgravity, made up of sustained notes (microtonal, of course) superimposed on one another in an almost non-existent dynamic. Gabriel Dufour-Laperrière’s Tout coule (everything flows) is stylistically close to Adherence, but already more fluid and active in its dynamics and instrumental writing. Numerous glissandos detail an undulating general architecture, constantly swelling and un-swelling. These dynamic peaks and lows remain centred on an average that oscillates between mezzo-forte and forte, but reach an intense double forte about four-fifths of the way through the piece.
The two best pieces (in my humble opinion) framed the programme. Songs for Fallow Fields by Bekah Simms, first in presentation, dares to use melody and consonance, grafted with ornamentation and microtonal harmonic coating. In this sense, the score by the young Glasgow-based Newfoundland composer is resolutely more ‘’contemporary’’ than the previous two. At the start of the 21st century, the exploration of encounters between neo-tonality, or even straightforward melodicism, and experimental avant-garde techniques is a promising avenue that greatly refreshes the discourse of learned music. It also has the not inconsiderable advantage of broadening the audience for this discipline. In short, to Bekah Simms (present in the audience), who said of this piece: “I’m not used to writing melodies, but this time I took the time to do so”, I would reply: “Keep going in this direction, and keep taking the time, it works!’’
The last piece on the programme was also the most fleshed-out, the most accomplished and the one that demonstrated the best mastery of the musical language, but also of the principle of discursive structure and of a narrative that is both demanding and easy to understand.
Simply entitled String Quartet No. 4, the work by Montrealer Francis Battah goes even further than the melodic consonance/microtonality encounter of Bekah Simms. In his quartet, Battah constructs a system of microtonal modal music! This is not in itself an invention, since in certain cultures, such as the tradition of maqam singing in learned Muslim music, modal microtonality is a given. Nevertheless, Battah’s approach is accomplished and frankly successful, enabling him to create a vehicle in which imaginary folk music is evoked in a generous canvas of some 20 minutes. Listening to it, we get the impression that a door to a parallel universe has opened, letting us discover a world similar to our own, but in which the ‘normal’ musical foundations are microtonal. Battah has listened extensively to a wealth of non-European folk and art music to inspire his writing. Celtic, Indian, Arabic and Persian influences can be identified, like ghostly but easily discernible spectres. Francis Battah’s String Quartet No. 4 will, I ardently hope (and dare to predict), have a long and happy life. Serious and daring quartets will find in it material worthy of their talent and a work which, despite its high degree of knowledge, will appeal to a curious and attentive public. My friend and colleague Alain Brunet, who accompanied me to the concert, also agrees.
It would be almost pointless to underline, once again, the quality of the Bozzini quartet’s playing. Impeccable and perfectly in tune with the will of the creative artists. There is certainly a lucky star hanging over the heads of these four young artists in learned composition, because to see one’s music played by an ensemble of such high calibre is an exceptional privilege.
Left to right : Francis Battah, Bekah Simms, Alissa Cheung, Clemens Merkel, Stephanie Bozzini, Isabelle Bozzini, Paolo Griffin, Gabriel Dufour-Laperrière – credit : Alain Brunet
Turkish-born Montrealer Didem Başar (pronounced Bashar) is the Grande Lady of the kanun (my words). This instrument from the zither family is widely used in traditional Turkish music and throughout the Middle East. Başar is adding several strings to her already strong instrumental game by incorporating composition and above all encounters with other musical genres, something she can easily do in Montreal’s rich musical ecosystem.
On Tuesday evening at Salle Bourgie, as part of the Musique des cultures du monde series, she presented her Continuum project, in which her compositions (and a few arrangements) for kanun, percussion and string quintet offered the attentive audience some 80 minutes of delicate and delightful travel, a kind of tangible link between the present and the long history of the millenias-old culture of the Middle East. A continuum of space, time and, of course, music. Accompanying her on stage were the Andara Quartet, double bassist Étienne Lafrance and percussionist Patrick Graham.
With the exception of a few arrangements of traditional pieces, all the works were written by the artist herself, including a Concerto for kanun and strings, written in the rules of the art. It’s a wonderful adventure that begins with a light first movement, full of pointed textures (string pizzicatos and plucking of the kanun), interspersed from time to time with lyrical caresses from the strings. If this initial section suggests a stroll in all simplicity, the second movement betrays this prejudice with a plaintive adagio in dark colours, evoking a sadness swollen with powerful melancholy. It’s as if we were homesick with her. The third movement, the finale, reveals more rhythmic muscle and a willing, assertive drive that visibly satisfies the audience present.
The entire repertoire offered in the programme stems from this oriental atmosphere, based on an essentially modal harmonic universe, but to which Didem Başar adds touches of more western chromaticism here and there, a chromaticism that also invites microtonality. The result is a set of attractive melodic constructions that never, however, become recipes for auditory tourists. Başar’s music is easy to like, but never “easy”. It also leaves a little room for improvisation by its companions, particularly in the piece Lame Pigeon, where Étienne Lafrance gets brilliantly improvisatory before handing over to cellist Dominique Beauséjour-Ostiguy, who is expansive but more controlled, violist Vincent Delorme, who is impressive, and percussionist Patrick Graham, who is always spectacularly subtle and refined.
A wonderful moment of music and intercultural encounter, à la Montréal. Continuum is a concert you shouldn’t miss if you see it in your area, and it will also be released as an album on 18 May 2024. Definitely one to watch.
Wintering in the rhythms of the warm lands of South America, like a migratory bird, Stephanie Osorio’s music is filled with poems that seek to develop a new and warm sound from Latin American rhythms, seeking to contribute to the musical diversity of Quebec and to offer the audience a musical journey through stories of everyday life that migrate without borders, from the ear directly to the listener’s soul.
Hivernant dans les rythmes des terres chaudes de l’Amérique du Sud, tout comme un oiseau migrateur, la musique de Stephanie Osorio est remplie de poèmes qui cherchent à développer un son nouveau et chaleureux à partir des rythmes latino-américains, cherchant à contribuer à la diversité musicale du Québec et à offrir au public un voyage musical à travers des histoires de la vie quotidienne qui migrent sans frontières, de l’oreille directement à l’âme de l’auditeur.
This content comes from Club Balattou and is adapted by PAN M 360.
Kim Richardson Trio au Dièse Onze
by Rédaction PAN M 360
Lauréate de trois prix Juno, Kim, née en Ontario, chante depuis plus de 35 ans. Elle chante (presque) n’importe quoi! Du rock, de la pop, du R’N’B, du jazz, du gospel, du country et même quelques pièces classiques avec l’Orchestre symphonique de Montréal. Ses voyages musicaux l’ont menée à travers le Canada ainsi que dans certaines régions des États-Unis, d’Europe, d’Afrique et d’Amérique du Sud. Parmi ses dernières apparitions, Kim a chanté les hymnes nationaux pour les Canadiens de Montréal, a participé au 375e anniversaire de Montréal au Centre Bell et terminé une tournée de 30 mois avec American Story Show. Son plus récent single intitulé No Mountain Too High avec le chanteur/compositeur et multi-instrumentiste incroyable Jason Lang, est disponible sur la plupart des plateformes musicales
Winner of three Juno awards, Ontario-born Kim has been singing for over 35 years. She sings (almost) anything! Rock, pop, R’N’B, jazz, gospel, country and has even performed some classical pieces with the Montreal Symphony Orchestra. Her musical travels have taken her across Canada as well as parts of the US, Europe, Africa and South America. Among her latest appearances, Kim has sung the national anthems for the Montreal Canadiens, participated in the 375th anniversary of Montreal concert at the Bell Centre and completed a 30-month tour with “American Story Show”. Her recent single called “No Mountain Too High” with singer/songwriter and musician extraordinaire Jason Lang, is available on most music platforms.
BILLETS EN VENTE À LA PORTE!
Ce contenu provient du Dièse Onze et est adapté par PAN M 360.
Rare Morton Feldman to inaugurate the new Espace Kendergi in Montreal
by Frédéric Cardin
Without much fanfare, a new concert hall was inaugurated in Montreal last night. A concert hall, that’s a quick way of putting it. An intimate space reserved for music, but also for private events, launches or conferences would be a more appropriate description. The Espace Kendergi, a tribute to Maryvonne Kendergi, musicologist, broadcaster and central figure in Quebec musical life for more than half a century, is a rectangular room with a capacity of around 30 people seated (excluding the musicians) or around fifty standing (at a guess, which is in no way scientific, that said).
On arrival on this Tuesday evening, you get the feeling that the place is brand new. The smell of paint wafts through the air, the space in question is immaculately white, the otherwise bare walls are adorned with beautiful mouldings and the piano, a small Fandrich & Sons grand, sits at the far end.
Espace Kendergi, Canadian Music Center in Montreal – Piano : Fandrich & Sons
The reason we’re here tonight is to hear, on this very piano, a rarely-played live monument of contemporary music: Morton Feldman’s Triadic Memories, the “largest butterfly in captivity in the world”, according to its creator. The artist, Isak Goldschneider (whom I recently introduced to you in an interview published here), is another important figure in Montreal’s contemporary music scene, as much a musician as a composer and, above all, artistic director of Innovations en concert (whose 2023-2024 season was launched with this concert).
On the musical side, a moment of communion has been achieved thanks to this work, massive in length (around 90 minutes, non-stop!) but as musically delicate as a veil of transparent silk. Feldman’s music is atonal minimalism, simple and complex. The simplicity lies in the rhythmic and melodic formulas and motifs, while the complexity lies in the evolution and transformation of these cells through a slow but irremediable process of repetition and superimposition. With Feldman, you have to take the time to listen. An aural dip of 2-3 minutes is contraindicated. It is only at the end of 90 minutes (in the case of this piece) that the finality of the whole, which easily surpasses the sum of its multiple parts, will become apparent to us, and we will then be able to understand the meaning of the experience. Morton Feldman is like a Rothko painting, but if you can imbibe the spirituality proposed by the American painter in a single holistic glance, it’s impossible to take the full measure of a work by Feldman without, as I’ve just said, taking the time. And even taking the time to take the time.
Feldman is a minimalist, but in a completely different league to Glass or Reich. Unlike his two compatriots, Feldman rejects the marked pulse. It exists, but it is insinuated, suggested. He also rejects the ecstatic, feverish haste of the other two (and their disciples). The musical experience Feldman provides probably has more to do with the ‘mystical’ minimalism of Arvo Pärt or John Tavener. But furtively, because he maintains the link with atonalism, unlike the two Europeans. In the end, Feldman is unique and difficult to imitate. Technically, it would probably be easy, but to get the kind of transcendent immersion that his music provides, I think you’d have to work hard. Where imitators would end up being unbearable and seem endless, the 90 minutes of Triadic Memories seemed much less so. That’s because Feldman manages to turn this long aural march (like the others in his catalogue) into an object that envelops the entire listening experience in an aura of emotional and spiritual embodiment. A sense of totality that encompasses the music itself, the sound, its resonance in physical space and the human presence in relation to that precise ‘moment-space’. Morton Feldman’s music is one of the most humanistic to be heard in the 21st century.
Isak Goldschneider seemed nervous before sitting down at the piano. It’s understandable. If the technical demands are nothing like those of a virtuoso concerto, the emotional, intellectual and spiritual plunge in this kind of music must be total, sincere and deeply felt. He seemed to be exhausted after the last note, and with good reason. He had just delivered a masterly exercise in communication, imbued with infinite subtlety, where the intimacy demanded by the work must be of a rare force of penetration towards the listener. This is music that constantly balances on a tenuous thread, made up of delicate “scratches of silence”, as Renaud Machart put it in Le Monde, but which, once successfully traversed, leaves an indelible mark on the memory.
The audience warmly expressed its approval. It was well deserved.
The hall’s acoustics are very good, but it has to bare with the Montreal street, here Crescent, the new home of the Canadian Music Centre (CMC) in Quebec. We’re used to this urban dynamic, thanks to Bourgie Hall (just a few steps away!), where it’s not impossible to hear the occasional police siren or the din of a dump truck during a Schubert sonata or a recital of French melodies. The difference between this concert hall and the Espace Kendergi is that there are clubs and discotheques nearby the latter. So, for the first thirty minutes or so of the concert, a vague tapestry of “beats pumps”, coming from who knows which neighbour, could be made out in the many musical gaps of silence dear to Feldman. The occasional siren is to be expected, but the continuous hubbub of a dancefloor can become irritating. This was the case for me. Fortunately, it stopped at some point. But it was a Tuesday night! What it will be like on Thursday, Friday or Saturday, we can only guess.
Perhaps we should consider the programming in this light. A recital of Mozart arias can hide the background noise. But as long as the silences, or quasi-silences, of much more delicate pieces are more present, there will be a risk. We’ll have to wait and see what happens, as Claire Marchand, the CMC’s General and Artistic Director, has announced that a full programme will be unveiled at a later date.
That said, let’s not deny ourselves the pleasure of seeing a new player in the network of venues for the dissemination of chamber music, and a contemporary Canadian one at that (Feldman is American, but a few noble exceptions like that are quite tolerable)! For that reason alone, I think we can overlook the few drawbacks caused by the surrounding urban environment.
And above all, we can guess that Maryvonne would have been happy and honoured to be associated with it.
MUTEK 2023 | Satosphère 1 : Metaract et Iwakura
by Théo Reinhardt
The first Satosphère event of the MUTEK 2023 festival features a double program, with the audiovisual projects Metaract and Iwakura. The former is, according to MUTEK’s website, “an exploration of the duality between analog and digital”, and the latter, “a supernatural journey to rediscover the transcendence of nature.”
Photo credits : Ash KG
Metaract
Metaract is the first of two presentations, created by Japanese artists Manami Sakamoto and Yuri Urano. It’s an immersive film focused on nature which, in the context of the SAT, certainly questions the relationship between the natural and technological worlds.
From a dust particle in nothingness, to a drop of water in a freezing river, to a lump of earth in a forest, we seem to be taken through all the states of matter, as if we were experiencing them in first person. Things move slowly, even if it feels like we’re crossing universe-scale time jumps in the space of 20 minutes or so. What’s more, the exploratory but still modest tone of this rather abstract representation of nature is reminiscent of the curious and avid lens towards nature shown in Terrence Malick’s films, in particular The Tree of Life (2011) and his recent documentary Voyage of Time (2016).
The music remains fairly calm, with ambient layers that place us in a space without beginning or end, with a few distant sounds of bells and chimes here and there. The most recurring image is that of thousands of tiny dots floating in nothingness, which can be infinitely small or large. There’s no real scale of reference here, but even the small seems immense when sitting down, head up, under the dome of the Satosphère.
At the end of the film, as low-frequency blasts mimic a living heart, the thousands of colored dots acquire some intelligence and form trees, before hatching, falling back into galactic chaos, and finally returning as trees, their final form. At least, for the time being.
Iwakura
This second presentation, by artists Kazuka Naya, Ali Mahmut Demirel and Maurice Jones, is more abstract, more bizarre, more preoccupying and, above all, more psychedelic.
Born from what appears to be an obsession for geology, our journey begins by surveying very, very closely the walls of various caves, which merge into one another. The music here is dark, murky, calcified. It’s like being immersed in a meticulous, if not slightly fantastical, search for a fossil. But we won’t stop there. The journey will take us much further into the limbo of form, and we’re not sure we’ll be coming back.
As the images unfold, the rocky entities, now solitary in the void, follow one another, and their movement becomes increasingly supernatural: they collapse in on themselves, open out towards us in a tunnel that crushes and lengthens to infinity, at the same time hollowing out and unfolding in geometric, symmetrical excrescences, while we forget the music and all our attention is trapped in this geological black hole.
Eventually, we’re back where we started, with rock walls blending with waterfalls and trees, as the music builds in intensity, orchestration and sentimentality. Quite a journey. Have we reached transcendence? The sublime? Horror? A little of all three, maybe…
Dès que Momo Soro entame un solo de batterie, le temps s’arrête dans un de ces moments de grâce inexplicable où rien d’autre que la beauté du son ne compte. À l’aise autant sur des beats Reggae que des impros de Jazz ou dans un hommage à Charles Aznavour, il est de ces artistes qui vivent leur musique. Frappant son instrument avec force, conviction et joie, encore et toujours inspiré par les rythmes de son enfance à Korhogo, celui qui a accompagné les plus grands des musiques du monde est aussi un compositeur et un arrangeur de talent qui réussit à mettre en valeur ceux avec qui il partage la scène et à communiquer toute une gamme d’émotions au public.
As soon as Momo launches into a drum solo, time seems to stop in one of those inexplicably beautiful moments where only sound matters. Whether playing a reggae beat, improvising jazz or singing a song in honour of Charles Aznavour, he is one of those artists who fully lives and breathes their music. A master drummer who plays his instrument with conviction and pure joy, he will forever be inspired by the rhythms of his youth back in Korhogo. Not only has he played with some of the biggest names in world music, he also a talented composer and arranger who knows how to bring out the best of those with whom he stares the stage and to convey a whole range of emotions to his audience.
Taurey Butler est un pianiste de jazz phénoménal du plus haut calibre. Il présente ce concert en trio en compagnie de Morgan Moore à la contrebasse et Wali Muhammad à la batterie. Natif d’East Orange, au New Jersey, il a joué dans de nombreuses villes à travers le monde, de Hong Kong à New York. Il a choisi de poser ses valises à Montréal.
Le premier disque éponyme de Taurey Butler sur le label Justin Time est paru en novembre 2011. Ce premier album a reçu des critiques dithyrambiques. Depuis, il s’est imposé comme maitre d’un swing rythmé et élégant. Son style démontre un engouement profond pour le blues et les ballades.
Facile de se perdre dans le feu et le funk de Taurey Butler ou dans sa douceur et ses rythmes. Mais on peut aussi bien suivre la lumière éblouissante qui émane de sa musique.
Taurey Butler is a phenomenal jazz pianist of the highest calibre.
Hailing from East Orange, New Jersey, he has played in numerous cities across the world from Hong Kong to New York and now makes his home in Montréal. Taurey’s debut self-titled recording on the Justin Time label was released in November 2011 to resounding critical acclaim. He emerges as a fully-formed master of hard-driving swing with a deep feeling for the blues and ballads.
It’s easy to get lost in the fire and funk, the sweetness and swing, of Taurey Butler. But you can also follow the light that his music emanates.
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Shawn McPherson est un chanteur et harmoniciste canadien qui parcoure la scène blues du Québec depuis sa jeune adolescence. Il s’est déjà distingué comme l’un des leaders et harmonicistes les plus accomplis de la nouvelle génération du blues canadien.
Sur scène, sa voix puissante et son énergie débordante captivent le public dès la première note. Fortement influencés par les bluesmans de Chicago, tels que Little Walter, Sonny Boy Williamson II et Big Walter Horton, Shawn et son groupe jouent de l’authentique Chicago Blues. Jouant sur instruments, microphones et amplis d’époque, ils vous transporteront dans le temps, à l’époque des ‘’juke joints’’ des années 1950.
Shawn McPherson is a Canadian blues harmonica player and singer. Having played the blues around Quebec since he was a young teen, he has already established himself as one of the great up-and-coming Canadian harmonica players and frontmen. With a booming voice and energetic stage presence, your attention will be drawn-in from the first note.
Heavily influenced by authentic Chicago bluesmen such as Little Walter, Sonny Boy Williamson II, and Big Walter Horton, Shawn and his band play authentic Chicago Blues. Using period-correct instruments, microphones, and amplifiers, you’ll be taken back in time to the juke joints of the early 1950s.
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Mamadou Koïta est un grand chanteur, auteur et compositeur hors du commun.
Né en Afrique au Burkina Faso, il est Griot virtuose du Balafon, percussionniste enjoué, joueur de djembé endiablé, un joueur de Tama surprenant, de Barra, de N’Goni, et beaucoup plus encore …
Il est né dans l’univers musical de l’ethnie Bwaba. Dès son plus jeune âge, il a appris à jouer du balafon avec son père, qui était lui-même fabriquant et grand joueur de balafon.
Aujourd’hui, il a su adapter son art et évoluer au gré de ses désirs pour nous faire vibrer au style Afro-Fusion. Déhanchement garanti!
Depuis qu’il sait jouer, Mamadou a participé à des milliers de spectacles, festivals et scènes partout à travers le monde et dans tous aussi plus de contextes différents les uns des autres pour nous faire danser! Dont à maintes reprises ici-même au Québec!
Ce soir, il sera accompagné pour sa Troupe Balafola par Sylvain Plante à la batterie et de Carlo Birri à la basse. Alors sans plus tarder, nous vous laissons dans les mains de ce Grand Maître de la scène : Mamadou Koïta et sa troupe Balafola !!!
Ce contenu provient des Productions Nuits d’Afrique et est adapté par PAN M 360.
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