Le Festival EAR IT LIVE Jacques Daigle

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Le Festival EAR IT LIVE Jacques Daigle Document generated on 10/01/2021 2:32 p.m. Intervention Le festival EAR IT LIVE Jacques Daigle Number 14, February 1982 URI: https://id.erudit.org/iderudit/57493ac See table of contents Publisher(s) Intervention ISSN 0705-1972 (print) 1923-256X (digital) Explore this journal Cite this article Daigle, J. (1982). Le festival EAR IT LIVE. Intervention, (14), 46–48. Tous droits réservés © Les Éditions Intervention, 1982 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Les pires questions peuvent apparaître: Le festival EAR IT LIVE une première facilité? hasard? fumisterie? Telles sont les salles, appréhensions inhérentes à l'improvisation spontanée qui pourraient ouvrir la porte à un douloureux manifestation de musique improvisée à Québec débat... Kubota nous salue bien bas et repart orné d'un sourire oriental mystérieux. dans les années '80 TRIO LERICHE-ST-JEAN-HOULE (dimanche 1er novembre) Encore engourdi par cette longue disette Parler du jazz québécois ne constitue qui datait de plusieurs années, l'auditoire guère un sujet réjouissant pour un amateur potentiel se présenta en nombres très mo­ de cette musique presque réduit, du côté deste, malgré le prix d'entrée très aborda­ disques, à pleurer sur de rares reliques in­ ble et une publicité assez visible dans les trouvables, d'un passé voisin du grand derniers jours. Impondérable dans le ca­ éclatement du free, à réécouter avec une lendrier ou non renouvellement de cet audi­ certaine raqe au coeur ces rares enre­ toire? gistrements-témoins (Walter Boudreau + 3 = 4, Pierre Leduc, l'Infonie, le Jazz libre Le succès très estimable des deux princi­ du Québec). Mais depuis? Pratiquement paux concerts, ceux du Julius Hemphill rien. Ou alors on se fait récupérer, on fait Trio et de Oliver Lake, marque un grand des salles, on joue au virtuose déshumanisé point de réjouissance. Il ne faut pas oublier avec un jazz-fusion de centre d'achats. A non plus la performance de Nobuo Kubota ce compte, il vaut mieux écouter les éter­ et encore moins la découverte du nouveau nels standards et penser à ceux qui ont dû trio de Robert Leriche, un aspect nouveau fiebert left'che. s'expatrier. de la scène musicale d'ici, qui en a bien Heureusement il existe une activité réel­ besoin. eussions et objets-bruiteurs sont appuyés dans les moments intenses par des enregis­ le, même discographique, qui demeure mal trements de piano «préparé» ou free, des connue et mal diffusée hors de Montréal. NUBUO KUBOTA (samedi le31 octobre) parties de moog qui font parfois songer Si l'esthétisme style ECM s'y manifeste, Ex-archite d'origine japonaise, Kubota à l'approche extrémiste d'un Sun Ra, un il ne doit pas nous faire oublier des gens construit un environnement sonore varié long solo de saxophone qui survole un comme Nébu et surtout l'E.M.I.M. qui ont projeté dans l'espace plutôt qu'une forme «bourdon» électronique avant de se réper­ le grand mérite de brasser un peu nos mé­ musicale définie. Le sorcier grisonnant évo­ cuter dans l'écho pour se perdre enfin ninges blasées. lue dans sa propre cage de percussions, dans divers gongs, des voix de groupes, monde intérieur peuplé de multiples «ob­ d'enfants,... jets» (gongs orientaux, mini-clochettes, bar­ Ceux qui se laissent prendre doucement, res métalliques, blocs de bois), quincaillerie presque naïvement par cette sculpture so­ et «gadgets» (oursons-batteurs, mini-tran­ nore percussive apprécieront ce petit voya­ sistors AM, ballons gonflables, téléphone, ge dans un monde de rêverie. cadran, flutes-jouets) et instruments plus Sans explication/présentation pré-éta- sérieux (synthétiseurs, sax alto, magnéto­ blie, comment peut-on palper la valeur d'u­ phones). ne telle performance, sa signification? À L'improvisation est mise en marche, for­ moins que justement elle se veuille faite mant un tissu souple, espacé ou au contrai­ à partir de rien pour toucher plutôt l'ima­ re virevoltant ou vombrissant. Les per- gination spontannée. Claude St&eorn __ Ici à Québec, les concerts de ces musi­ ciens ont vraiment été rares et c'est pour­ quoi la présentation du nouveau trio de Ro­ bert Leriche devient un événement nette­ ment plus important qu'une simple «pre­ mière partie» à Oliver Lake. Vétéran de l'improvisation, Leriche (sax alto) s'est entouré de nouveaux musiciens. Claude St-Jean (trombone) et Raymond Houle (batterie) dont la compétence et l'é­ nergie ne font aucun doute. Ensemble, ils produisent une musique «écrite» laborieusement mais paradoxale­ ment pas assez définie thématiquement (du moins à mon oreille de jazz). Mais sous ces dehors raides et difficiles, quelle belle énergie y bouillonne. Il est quand même réconfortant de retrou­ VobtAO Kubota ver ici. après tant d'années une musique à 46 2?/scvr.eti£s oui Mouveme/str c'tAjcoét4f**r s'^vASAA/r coMMtssoT^es *CA/ACTW JULIUS HEMPHILL TRIO (samedi 31 octobre) La composition très particulière du trio ici présent constituait au départ un élément de curiosité, causé en grande partie par la présence de la force montante chez les bassistes électriques, Jalaamadeen Tacu- ma. A vingt-cinq ans, cet individu qui manie un étrange instrument au profil futuriste et amputé de ses clés peut re garder derrière lui avec fierté puisqu'il a fait partie du retour révolutionnaire d'Or- nette Coleman et de l'émergence du spec­ taculaire guitariste James Blood Ulmer (voir discographie). L'autre membre de la section rythmique, le batteur Michael Carvin, a au contraire un passé relativement humble, même si son rôle principal de batteur de sessions l'a fait jouer et enregistrer avec un nombre imposant de noms connus. Drôle de trio en effet que celui du multi- instrumentiste Hemphill. Lui qui a surtout travaillé dans ce secteur très particulier de la musique proche de l'Art Ensemble of Chicago à ce néo-funk très prisé ac­ tuellement à Defunkt. C'est ici qu'on peut faire le lien avec Tacuma. Mais Carvin allait être la grande surprise, rompant totale­ ment avec la retenue routinière de son mé­ tier de «session-man», pour nous offrir une démonstration variée et intelligente de son rôle. Avec ce lyrisme chantant «bluesifié» cet­ te attaque douce/coulante qui n'hésite pas à forcer d'accents brûlants dans les cres­ cendo, Julius Hemphill se situe près de ces grands joueurs d'alto que sont Arthur Bly- the, Omette Coleman ou Anthony Braxton, chacun ayant quand même ses caractéris­ tiques propres. On peut surtout le situer dans cette sorte d'école post-free au sens large) aux contours pas trop définis, celle des musiciens des lofts, où au bagage de la tradition et du free s'ajoute celui de l'Afrique et du funk urbain. Hemphill travaille dans les vastes terri­ toires de la musique afro-américaine, en tant que terrain d'action, point de départ à un échange/conversation. Blues, ballade, bop parkérien, ne sont pas utilisés comme référence directe, de sorte que les thèmes sortent fraîchement créés et remplis de coloration africaine et de «soul». La batterie, loin «d'accompagner» au •tphitl. sens habituel, s'amuse par exemple à oppo­ ser des roulements de marche à un thème l'accent proche des grands éclatements free des concessions et garder cette énergie si à saveur blues, à retenir temporairement de la période 1964-67, proche aussi de la. rare chez nous? un bop, à faire entendre un langage propre. difficile école européenne, germanique sur­ Julius Hemphill, Oliver Lake; deux saxo­ tout, qui s'ensuivit et qui existe toujours phonistes souvent associés l'un à l'autre: Ja-iiuiaLcideevt. ~!âcu-»\<* (d'ailleurs l'an dernier, Leriche a joué avec tous deux membres du Black Artists Group de nombreux musiciens en Europe). de St-Louis, ils ont émergé en même temps Cette formation sans basse, piano ou guita­ vers 1974-75, pour finir par se rejoindre re, nous permet d'apprécier des instrumen­ dans le spectaculaire World Saxophone tistes assez étonnnants. La combinaison Quartet. sax alto-trombone ne se rapproche-t-elle Dans les années folles de la musique pas de bien des moments les plus free improvisée au cégep de Limoilou, ils des Shepp, Roswell Rudd et autres, par étaient déjà venus nous rendre visite dans ses éclats de sonorités râpeuses ou ses des contextes différents: Oliver Lake avec charges serrées? Et cette batterie, toute en le New Dalta Ahkri de Leo Smith, puis pulsations, sans basse, ne se rapproche-t- quelques temps plus tard, Hemphill seul elle pas au moins un peu de ce que fait nous préparait son «audio-drama» Roi un Sunny Murray? Boyé, performance musico-environnemen- Cette musique peut-elle devenir à la fois tale où il jouait en trio avec...lui-même plus «attirante» sans tomber dans le piège (à l'aide de deux magnétophones). 47 FRENCH KISS-DANS NlMPORTE QUEL CREUX HUMIDE- Ffi,8£ soA+ie, Individuellement, parce que chacun s'ex­ pied, se met à le chanter, entraînant, ô sur­ pelle que Steve Lacy joua seul près de deux primait par un langage propre mais ouvert prise!, le dégel instantanné de la foule qui heures...jusqu'au sang. à l'écoute, et collectivement, par la qualité tape joyeusement des mains jusqu'à ce Merci quand même de nous avoir fait de celle-ci qui engendrait une dynamique qu'un vigoureux cri d'alto lui fasse lâcher swinger dans nos fauteuils, c'était plus que active, sans brouillon, ce concert marque prise.
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