Bringing together players from Rimouski and Montreal, contemporary classical and musique actuelle meet in an improvising setting to create an album of distinctive four-way interplay.
Label: Tour de Bras
Catalog ID: TDB89002
Squidco Product Code: 12980
Packaging: Clear plastic Sleeve with paper inserts
Recorded September 20, 2005 at Vieux -Theatre de St-Fabien.
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1. Se Poser Des Questions 3:08
2. Avoir Froid Aux Yeux 5:54
3. Avoir Les Nerfs En Boule 8:31
4. Faire Des Cauchemars Éveillés 2:35
5. Parler Tout Seul 10:28
6. Avoir Des Fourmis Dans Les Jambes 2:40
7. Marcher Sur Des Oeufs 10:42
8. Avoir Le Coeur Gros 2:44
9. Avoir La Gueule De Bois 2:43
10. Avoir La Larme Facile 4:07
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"Utilizing the skills accessible from legitimate musical training, extended instrumental techniques and the supplementary textures available from an electronic sampler, these "10 risky situations" balance on the edge between free improvisation and contemporary classical music. Involved are two instructors at the Conservatoire de Musique de Rimouski (Quebec): James Darling, who is also the cellist of Quatuor St-Germain; and Gabriel Dionne, the Conservatoire's percussion head. They're matched with two Montrealers: clarinetist Lori Freedman, known for her free improvisation collaborations as well as notated New music efforts; and Diane Labrosse, here manipulating the sampler, though she usually composes multi-media, theatre and dance pieces.
Overall, Labrosse's instrument's electronic pitch warbles and whooshing flutters plus the sinewy vibraphone resonation or ratcheting drum top pitter-patter from Dionne create background landscapes. In the foreground are the contrapuntal interactions of - or double counterpoint between - Darling and Freedman. One or the other advances a motif - say low-pitched legato bowing from the cellist, or squeaking, altissimo smears from clarinetist - and with the response, aggregate themes and variations are developed - then electronics and percussion fill in any spaces.
Two pieces "Parler tout seul" and "Marcher sur des œufs" depart from this strategy with memorable results, as each extends virtuosity past the 10-minute mark. A darkly tinged nocturne, the former contrasts repetitive, low-pitched exhalation from the clarinetist with resonating tubular bell shimmers, until a conclusive cello vibrato provides the connective thread to make logical as well as musical sense of the tune. Initially as fragile as its title posits, the later piece unfolds on top of vibrating electronic crackle and drones plus pitter-pattering vibe and cymbal resonation, as both Freedman and Darling emphasize rigid instrumental timbres. Eventually, abrasive sul tasto string sweeps and high-pitched reed yelps sound unmodified, negating the delicacy of "egg walking". Listeners who welcome aural challenges are rewarded with the sounds of distinctive four-way interplay."-Ken Waxman
• Show Bio for Lori Freedman
"Lori Freedman. Born Toronto, Ontario, Canada, 1958. Residence: Montréal, Québec. Composer, Performer (clarinet, bass clarinet)
Qualified as "a musical revolutionary in the front ranks of the avant-garde" by Alex Varty of the Georgia Straight (Vancouver), Lori Freedman (clarinets) is internationally recognized as one of the most creative and provocative performers. She is a member of a select group known as "renaissance musicians" as her artistic activities cover many fields: performer of written music (well over one hundred works have been written for or premiered by her), composer, improviser, teacher, and on occasion, writer. While managing a full performance schedule of more than 75 public appearances a year, Freedman has been receiving commissions to write music for ensembles such as Orkestra Futura, Arraymusic Ensemble, Ensemble Transmission, Continuum Contemporary Music Ensemble, Ensemble SuperMusique, Ensemble Paramirabo, Upstream Orchestra, Queen Mab Trio, Crowbar Trio, Lott Dance, Oberlander Films, Foresite Theatre, Cooke Productions and Autumn Leaf Productions. Her current discography comprises over 59 recordings, the most recent of which include Greffes (Empreintes digitales), On No (Mode Records), Bridge (Collection QB), Plumb (Barnyard Records), 3 and À un moment donné (Ambiances Magnétiques), Huskless! (Artifact), See Saw and Thin Air (Wig). Highlight collaborations include work with Rohan de Saram, Barre Phillips, Helmut Lachenmann, Frances-Marie Uitti, Monique Jean, Joëlle Léandre, Axel Dörner, George Lewis, the Jack Quartet and Richard Barrett."-ActuelleCD (http://www.actuellecd.com/en/bio/freedman_lo/)
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• Show Bio for Diane Labrosse
"Diane Labrosse. Born Montréal, Québec, 1950. Residence: Montréal, Québec. Composer, Performer (sampler, accordion, voice).
Working mainly with electronic samplers, Diane Labrosse has a very personnal approach to sounds, exploring different textures and timbres and creating an abstract but evocative music. She is a regular on several different music scenes and has performed at internationally known festivals of musique actuelle, electronic, avant-garde and improvised music all over the world (Canada, USA, Europe, Japan, Australia).
Her most recent projects take different forms: Endangered Species, a sound and visual installation/performance based on obsolete objects such as rotary dial phones and ticking alarmclocks; Dactylotactiles, performance for 3 typewriters and live video (Sébastien Cliche); Petit Bestiaire, naïve songs for a quintet (texts by Guy Marchamps); Sagesse pratique, a series of miniature pieces based on proverbs and O.V.N.I., a sign language for an improvising orchestra of variable sizes.
As a composer, using conventionnal or graphic scores, she wrote for many different ensembles: Array Music and The Burdocks (Toronto), L'Ensemble SuperMusique and Espaces Sonores Illimités (Montréal), NOW Orchestra and 999 years of Music, (Vancouver). She also wrote for less conventionnal instruments, such as ship horns (Harbour Symphonies), train whistles, air bottles and toy pianos. She worked with director Robert Lepage and co-signed (with percussionist Michel F Côté) the music for two of his plays: La Géométrie des miracles and Zulu Time.
As sound designer, she created music for dance (Louise Bédard, Crystal Pite, Andrew Harwood, Marc Boivin, Deborah Dunn, Catherine Tardif, Harold Rhéaume, Richard Siegal), film (Montréal vu par..., Pendant que les arbres tombent, L'Entrevue, Plan de fuite) and radio (Le Navire Night, Les Décrocheurs d'étoiles) and theatre (Nuit d'orage, Je suis d'un would-be pays, Bliss, 38 Contes shakespiriens...).
She has created multimedia installations for Danish company Tura-ya-moya (in situ performances in an old chalk mine), and Scottish-based Theatre Cryptic (Wall of Secrets in situ installation for 20 speakers) as well as the Centre de Musique Canadienne (a sound garden playing ramdom sound tracks on surround speakers).
In 1980, she founded Productions SuperMémé/SuperMusique with Joane Hétu and Danielle P Roger. She remained Co-Artistic Director of this company presenting many concerts and events of innovative music from 1980 to 2008. With long-time colleagues Hétu and Roger she created the groups Wondeur Brass, Justine, and Les Poules. She collaborated with many musicians such as Jean Derome, Pierre Tanguay, Michel F Côté, Martin Tétreault, Ikue Mori, Philippe Lauzier.
Her discography comprises more than 50 recordings mostly recorded on Montreal based label Ambiances Magnétiques. She has received several grants from Canada Arts Council as well as Conseil des arts et des lettres du Québec."-ActuelleCD (http://www.actuellecd.com/en/bio/labrosse_di/)
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