California Guitar Trio and Levin Brothers (featuring Tony Levin)
by Rédaction PAN M 360
The California Guitar Trio and the Levin Brothers, the band of legendary bassist Tony Levin (King Crimson, Peter Gabriel), will share the stage for a memorable evening!
The California Guitar Trio, well known and loved by Montrealers, will take to the Soda stage in a revisited formula: Bert Lams, Paul Richards and new addition Tom Griesgraber, chapman stick virtuoso.
The Levin Brothers, a jazz quartet that’s not limited to the genre, led by Pete Levin (piano, keyboards) and Tony Levin (bass), will be making their first-ever stop in Montreal.
Le California Guitar Trio et les Levin Brothers, groupe du légendaire bassiste Tony Levin (King Crimson, Peter Gabriel), se partageront la scène lors d’une soirée mémorable !
Le California Guitar Trio, formation bien connue et adoptée des montréalais, foulera les planches du Soda dans une formule revisitée : Bert Lams, Paul Richards et le nouvel ajout Tom Griesgraber, virtuose de la chapman stick.
Les Levin Brothers, un quatuor Jazz, qui ne se limite pas au genre, dirigé par Pete Levin (piano, claviers) et Tony Levin (basse) fera sa toute première halte à Montréal.
Masterclass with Yannick Nézet-Séguin and the Académie de direction de l’Orchestre Métropolitain at Salle Pierre-Mercure
by Rédaction PAN M 360
The general public is invited to take a behind-the-scenes look at what it’s like to be a conductor by joining Orchestre Métropolitain musicians and members of its Académie de direction for a master class given by Yannick Nézet-Séguin.
Le grand public est invité à découvrir les coulisses du métier de chef d’orchestre en se joignant aux musiciens de l’Orchestre Métropolitain et aux membres de son Académie de direction, à l’occasion d’une classe de maître donnée par Yannick Nézet-Séguin.
AMY BEACH, symphonie gaélique
Members of the Académie de direction d’orchestre de l’OM :
Day two (or rather, evening) of Montreal’s newest music festival, and almost the same result. Once again, three well-crafted and complementary acts follow on from one another at the Ursa music club on Avenue du Parc.
Martha Wainwright sings an intro song before giving way to the soothing, gentle, melodic folk-pop of harpist/vocalist Émilie Kahn (ex Emilie & Ogden), in duet with Thanya Iyer on pastel synth sounds (a Yamaha’s Reface CS for the techno-curious). We’re settling in quietly to keep us going until past midnight. If we want to! After all, you can arrive and leave whenever you like. Then came Ivy Boxall’s quintet (Christopher Edmonson for real), playing keyboard and sax. Piano, bass/guitar, trumpet and drums are combined in an expansive, epic sound panorama interspersed with calmer, atmospheric pauses. In terms of musical technique, it’s very good. The ensemble clearly has excellent potential, and can build something solid. That said, I have to give a bad mark for the stage attitude of the leader, who rarely seemed satisfied with what he was doing and cut short certain ideas by announcing that the product “isn’t ready yet”, and that it’s a “work in progress”. Unease. If you’re not ready, my friend, you need to rethink your working methods. Music lovers didn’t buy tickets to come and see a rehearsal (unless it was advertised as such!). Or get on with it, improvise a proper finish and don’t spend your set sulking and making us feel it. We call that professionalism. But, I repeat, the potential is great and only needs to be better presented.
Sarah Rossy – photo : Pierre Langlois
The second act begins with New Yorker Claire Dickson, whose dream-pop is steeped in strangeness and seasoned with experimental alt-folk. Claire sings with a beautiful voice, the full range of which you can only guess at as she generally uses it in sighing, sussing and whispering lines, which she is quick to manipulate, stretch and butcher in all sorts of ways thanks to her digital lutherie. A few minor problems with the logistics of her equipment made my friend Monique Savoie (from SAT), who was present and knows a thing or two about this field, cringe. Personally, I rather liked the result. The other artist on the programme for this 8.30pm set was Sarah Rossy. Sarah sang a duet with Eugénie Jobin the day before, and it was superb. This time, all the attention was on her (and her musicians, who were all excellent), and it’s easy to see why she’s considered one of the rising stars of the alt/indie scene. The young Montrealer packs an emotional punch thanks to a versatile and malleable voice, as well as being beautiful and tonally assured. But it’s how she uses it, and the music that supports it, that really impress. Her compositions take us back to aesthetic sources as rich as Zappa, Radiohead, Björk and maybe even (did I dream?) Prince, occasionally. I’m just mentioning names to give you an idea, but Sarah Rossy is much more than that. She has a strong musical personality, and a beautiful psychological transparency that gives her an irresistible charm on stage. Her rise has only just begun, believe me.
This second day of festivities concludes with the third act, at 11pm, performed by the Little Animal quartet (pedal steel, bass, drums, trumpet). Sensory power, slow but irrevocable musical constructions and epic cathartic climaxes make us hesitate to describe them: Post-Rock with Jazz colours or Jazz with Post-Rock accents? Whatever, it’s pretty trippy and contemporary, the way Bad Plus is, but in a visceral Montreal spirit. I said quartet, but yesterday it was a quintet, because alongside Tommy (Crane), Joe (Grass), Morgan (Moore) and Lex (French), we were lucky enough to find David (Binney) on sax, who added his touch of swirling flamboyance to this already pretty strong ensemble. Binney is spending the week in Montreal, both for the festival and for the launch of his album In The Arms Of Light (read my review HERE), which takes place at the O Patro Vys bar on Saturday 30 March.
See you on Day 3, Thursday (what? That’s already today!). On the programme: Rémi-Jean Leblanc at 5.30pm, Bellbird and Parker Shper at 8.30pm, then Tommy Crane and Simon Angell with guests (surprises). And as always, the incomparable ambience of Ursa, a Martha’s song, and her home cooking made with love.
From April 4 to 6 in the Salon urbain at Place des Arts, start your evening on a high note with students from the jazz performance programs of the Université de Montréal’s Faculty of Music.
In a five-to-seven format, high-caliber combos of 5 to 6 musicians revisit jazz standards, adding a modern, personal touch. A great opportunity to appreciate the virtuosity and talent of the next generation of UdeM musicians!
Du 4 au 6 avril au Salon urbain de la Place des Arts, amorcez votre soirée sur une bonne note en compagnie d’étudiantes et étudiants des programmes d’interprétation jazz de la Faculté de musique de l’Université de Montréal.
En formule cinq à sept, des combos de 5 à 6 musiciens de haut niveau revisitent des standards du jazz en y ajoutant une touche moderne et personnelle. Une belle occasion d’apprécier la virtuosité et le talent de la prochaine génération de musiciennes et musiciens issus de l’UdeM!
2024 Edition
Thursday, April 4th Antoine Fradkin (violin) Christa Maria (piano) Simon Delage (guitar) Rémi Deshaies (bass) Pierre-Louis Martin (drums)
Friday, April 5th Etienne Chagron-Massé (guitar) Alex Gariépy (piano) Alain Lafrance (bass) Guillaume Sliger (drums)
XXIth Festival of the Association des orchestres de jeunes du Québec Gala Concert at the Maison symphonique
by Rédaction PAN M 360
The Association des orchestres de jeunes du Québec (AOJQ) reunites youth orchestras from Quebec to promote music and encourage exchanges between students.
The 2024 AOJQ XXIst Festival will feature seven orchestras under the baton of three reputed conductors: Naomi Woo, Adam Johnson, and Jean-Philippe Tremblay.
L’Association des orchestres de jeunes du Québec (AOJQ) regroupe les orchestres de jeunes du Québec pour promouvoir la musique et favoriser les échanges entre les jeunes.
Le XXIe Festival de l’AOJQ 2024 rassemblera sept orchestres sous la direction de trois chefs réputés : Naomi Woo, Adam Johnson, et Jean-Philippe Tremblay.
Montreal Anti-Jazz Police Festival at URSA – Day 1
by Frédéric Cardin
We were promised a festival without blinkers, free from the uptight purism of the ‘Jazz Police’ (the snobs of the genre). A promise made, a promise kept. The first night of the inaugural edition of the new jazz festival founded by Martha Wainwright, with the invaluable help of drummer Tommy Crane and the entire Ursa team, is sure to be a success that will make music lovers happy and confident.
The evening, like all the others to come at the festival, is divided into three acts. The first concert takes place at around 5.30pm (approx, because we’re all about the fluidity of experience here. No stopwatch…), the second at around 8.30pm, and the third at 11pm. Three acts, then, and three dissimilar universes, only the second of which can be linked fairly directly to the world of jazz.
It all kicks off with Montreal’s Edwin de Goeij, who gets the festivities off to a gentle start with a soaring instrumental sound supported by a combination of lo-fi (background music generated by a 4-track cassette, as they used to say in the old days) and hi-fi with modern synthetic equipment. A cosmic keyboard floats above it all. It’s a neo-kitsch ambience, with no big surprises, but a very pleasant one. After this chill intro, Erika Angell introduces herself and reprises some of what she gave us at the launch of her album The Obsession with Her Voice at Ausgang Plaza two weeks ago. Against de Goeij’s rather placid interstellar cloud, Erika’s music is a fascinating extra-dimensional nebula of sound. The originality perceived on listening to the album and the launch show is confirmed beyond any doubt. Here is a proposal of ferociously new and impressive artistic uniqueness and audacity that deserves to make the rounds of the world of the most advanced indie music of our time.
Aaron Dolman cr.: Pierre LangloisDavid Binney cr. : Pierre Langlois
When the break comes, we order tacos made and served by Martha Wainwright herself! If you want to live the experience, you’ve got three nights left! The second concert is by Californian saxophonist David Binney, a musical UFO who can combine avant-garde dazzle with Musakian levitation or tight post-bop. After an intro with Martha on guitar (she’s promised to sing one of her songs every night, so be there for the next ones), Binney sets off in a muscular quartet, accompanied by a double bass (Morgan Moore, an amazing virtuoso) and two… drumsets! Yes, TWO drumsets, one held by Tommy Crane and the other by Andrew Barr. The groove, which is totally acoustic but packs a punch of power and square decibels, is simply thrilling. You’re swept off your feet by the sheer force of the sound, and Biney’s free-flowing, stratospheric flights are as exciting as they come. A few calmer pauses balanced out a memorable show (split into two sets) that will live long in the memory. OMG, that was some seriously good shit!
11pm arrives and we’re ready to continue the adventure, although our tushes are a little grumpy (the benches and chairs are a little ‘hard’ for such long sessions, the only downside to this excellent first impression). This time, we’re back to less exalted feelings, with a surprising trio: two beautiful voices (Sarah Rossy and Eugénie Jobim) and drums/percussion (Aaron Dolman). We find ourselves immersed in a post/avant-folk with ghostly softness and unexpected melodic lines, at times almost atonal. You could almost imagine the Boulay Sisters (famous Quebec folk singers) singing Schoenberg! The choice was well thought out, for this first evening ends in calm, serenity and intellectual and emotional nourishment that satiate us, just enough to look forward to the second evening.
I’m talking about a qualitative success here, but it’s also worth noting the quantitative success of this first evening of the brand new festival. The hall was full, from quite so to packed tight, for every concert! That’s very encouraging.
Los Angeles-based band LANY craft dreamy, dance-informed pop with a smooth R&B spirit. After charting with their 2017 debut, LANY, they had another Top 40 showing with their 2018 sophomore LP, Malibu Nights, before landing their first Hot 100 hit single in 2019 with the Lauv collaboration “Mean It.” In 2020, the band reached a U.S. chart peak with the Top Ten Mama’s Boy, following it a year later with the Andrew Goldstein-produced gg bb xx. In 2023, the heartbroken a beautiful blur launched them into the Top Five in Australia.
Le groupe LANY, basé à Los Angeles, fabrique une pop rêveuse et dansante avec un esprit R&B. Après avoir figuré au palmarès en 2017 avec leur premier album, LANY, ils se sont de nouveau classés dans le Top 40 en 2018 avec leur deuxième album, Malibu Nights, avant de décrocher leur premier tube du Hot 100 en 2019 avec la collaboration avec Lauv, “Mean It”. En 2020, le groupe a atteint un sommet dans les classements américains avec le Top 10 Mama’s Boy, suivi un an plus tard par gg bb xx, produit par Andrew Goldstein. En 2023, heartbroken a beautiful blur les propulse dans le Top 5 en Australie.
The Trio The Cuban Martinez Show, directed by trombonist Yordan Martinez, is a festive show with a Cuban and Latin flavor.
Regroupant des musiciens cubains et montréalais, Le Trio The Cuban Martinez Show, dirigé par le tromboniste Yordan Martinez, est un spectacle festif à saveur cubaine et latine.
Racines is the musical project of Laurent Perrault-Jolicoeur, a McGill-qualified jazz bassist, and Zal Sissokho, a korafola known for his off-the-beaten-track projects such as Kora Flamenca and Famalé. Together, the two composers seek to reweave and retrace the links between Mandingo and jazz music through their compositions that hybridise the rhythms, harmony and improvisation of each of these traditions.
Racines est le projet musical de Laurent Perrault-Jolicoeur, contrebassiste jazz gradué de McGill, et Zal Sissokho, korafola connu pour ses projets sortant des sentiers battus comme Kora Flamenca ou Famalé. Les deux compositeurs cherchent à retisser et retracer ensemble les liens unissant les musiques mandingue et jazz par leurs compositions hybridant les rythmes, l’harmonie et l’improvisation de chacune de ces traditions.
Giant Rooks are an indie rock band with a pop sensibility and an atmospheric sound who became stars in their native Germany before developing an international following. Often performing in English, the group’s arrangements blend organic and electronic elements. Their 2017 EP New Estate introduced fans to their streamlined sound, and a 2019 cover of “Tom’s Diner” (a collaboration with AnnenMayKantereit) became a massive success in Europe. An added layer of production polish on their first full-length album, 2020’s Rookery, made their songs even more user-friendly, and 2024’s How Have You Been? added a romantic vibe to several of their songs.
Giant Rooks est un groupe de rock indépendant à la sensibilité pop et au son atmosphérique qui est devenu une star dans son pays d’origine, l’Allemagne, avant de développer une audience internationale. Se produisant souvent en anglais, les arrangements du groupe mélangent des éléments organiques et électroniques. Leur EP New Estate de 2017 a permis aux fans de découvrir leur son épuré, et une reprise de “Tom’s Diner” en 2019 (une collaboration avec AnnenMayKantereit) est devenue un succès massif en Europe. Une couche supplémentaire de polissage de la production sur leur premier album complet, 2020’s Rookery, a rendu leurs chansons encore plus conviviales, et 2024’s How Have You Been ? a ajouté une ambiance romantique à plusieurs de leurs chansons.
Souvent présenté comme le groupe de Reggae le plus amusant de Montréal, les prestations énergisantes de ce groupe laissent le public dans un état de bonheur intense. Ils vous feront chanter et danser au rythme de leur musique intemporelle et vous laisseront des souvenirs inoubliables.
The Reggae Uprising Band est un groupe qui sait comment divertir et qui met tout en œuvre pour plaire. Selon ses fans, le groupe fait oublier les soucis et remonte le moral par son style de jeu authentique.
The Reggae Uprising Band s’est formé quand des musiciens partageant les mêmes idéaux se sont rencontrés dans des bars locaux et dans des lieux communautaires, puis ont décidé de se réunir et de former un groupe.
Le groupe puise dans plus d’un siècle de musique du monde, de reggae, de soul, de rnb, de jazz, de folk, de country et de rock pour vous proposer ce qu’il a de mieux à offrir. Un mariage de standards musicaux que tous les âges peuvent apprécier.
L’Uprising Band s’est produit dans tout le Canada pour des festivals, des bars et des pubs, des brasseries ainsi que pour des auditoires privés.
L’Uprising Band a également collaboré avec des artistes musicaux tels que des artistes comme, entre autres, Luciano, Marcia Griffiths, Tinga Stewart, Ras Lee, Leroy sibbles, Errol dunkley, Leroy gibbons, general trees, horace Martin.
Hailed as Montreal’s most fun and exciting Reggae Band, this band’s revitalizing and energizing performances leaves the audience in a state of youthful bliss. They’ll have you singing and dancing along to the timeless music and making all kinds of great memories while doing so.
The Uprising Band is a band that knows how to entertain and put out their all to please Fans say that The Uprising Band makes you forget your worries and uplifts you with their authentic style of play.
The Uprising Band formed when like minded musicians kept meeting up at local bars, and at community venues and decided to come together and form this group.
The Band draws from over a century of world music reggae, soul, rnb, jazz, folk, country, and rock to give you the very best they have to offer. A marriage of musical standards all ages can enjoy.
The Uprising Band has performed all over Canada playing for festivals, bars and pubs, brewery, charity organizations as well as for private audiences, which is one of the highest compliments you can receive as a band, Truly special.
The Uprising Band has also collaborated with musical artists like Luciano, Marcia Griffiths, Tinga Stewart, Ras Lee, Leroy sibbles, Errol dunkley, Leroy gibbons, general trees, horace Martin just to name a few names.
BILLETS EN VENTE À LA PORTE!
Ce contenu provient des Productions Nuits d’Afrique et est adapté par PAN M 360.
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