Mille Bayous

Album numérique / PAN 055

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  • 1. Introduction: Creole Rhizome
  • 2. Scary Forest
  • 3. Devenir-intense, devenir-animal
  • 4. Devenir-imperceptible
  • 5. Bop Hunters
  • 6. Bad Jazz Dualism
  • 7. Arbre et R
  • 8. From F to P (part 1)
  • 9. From F to P (part 2)
  • 10. Holy S
  • 11. Les Méfaits de l’arbre

Mille Bayous est la plus récente parution de l’équipe formée par Horvey, Goldschneider et Morton. Leur travail fait référence aux traditions et aux erreurs du free jazz, à la composition contemporaine/expérimentale et à une sonorité actuelle-folk-électroacoustique. Le tout est mignon, patient, bruyant, indélicat, précieux, épique, et habile. Mille Bayous est leur première parution, quoique certains de leurs travaux ont aussi paru sur deux albums solo d’Amy Horvey, ainsi que dans diverses performances live à Montréal, Stratford, un peu partout en Saskatchewan, et ailleurs au Canada.

Crédits

Matériau interprété en direct à Moose Mountain Pottery, SK, décembre 2009. Édité et matricé par Isak Goldschneider, Amy Horvey et Jeff Morton à Montréal, QC, mars 2010

Amy Horvey: trompette, eau, bol, micro contact, piano, percussions. Isak Goldschneider: clarinette, orgue électrique, guitare à aimant-moteur, piano, percussions. Jeff Morton: micros, percussions, objets de cuivre, guitare à aimant-moteur, orgue électrique, piano.

Credits:
All material performed live at Moose Mountain Pottery, SK in December 2009
Edited and mastered by Goldschneider, Horvey, and Morton in Montréal, QC, March 2010

Amy Horvey: trumpet, water, bowl, contact microphone, piano, percussion
Isak Goldschneider: clarinet, electric organ, motor-magnet guitar, piano, percussion
Jeff Morton: microphones, percussion, brass objects, motor-magnet guitar, electric organ, piano

Review:
“Not all European free improvised music is European. Some is Canadian. Take the Saskatchewan-based efforts of Isak Goldschneider, Amy Horvey, and Jeff Morton, as captured on their recent free release, Mille Bayous. That’s “free” both ways: downloadable and improvised. The list of instruments involved hints at the potential cacophony, but not at the near stasis that the trio revels in for much of the recording. Cacophony does rear is carnival-esque head, on the closing “Les Méfaits de l’arbre,” at the end of which Horvey is heard to say, “Oh, whatever.” But the placement and the candid comment suggest it as an outtake, a blooper-real snippet, the noise against which the rest of the album’s intense quietude can be judged. Instead, gauge the musicians’ fierce simpatico from the earthen textures of “Scary Forest,” in which breathy, salivating woodwind lends a backdrop to light metallic gestural figurations, or the opening track, “Introduction: Creole Rhizome,” with its mix of brittle drone and kazoo-like effervescence, or “Bop Hunters,” in which nanoscale sawing plays against a rattly mechanism. It’s tempting to read the album’s title as a rural response to the Mille Plateaux aesthetic, a (mostly) analog microsonic counterpoint to the once ubiquitous digital ephemeralism.”
Marc Weidenbaum, Disquiet

  • Disponible le: 2011-03-30

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Jeff Morton

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