Jazz and Improvised

Genius Loci North
Jeannette Lambert; Reg Schwager; Michel Lambert
Independent (jeannettelambert.bandcamp.com)

I enjoy reviewing more abstract music, as I rarely run out of things to discuss. This applies to subtler and more ambient projects, as well as more boisterous spontaneous improvisations. This is why I was excited to have Montreal vocalist Jeannette Lambert’s Genius Loci North grace my desk. Lambert, her brother Reg Schwager on guitar, and husband Michel Lambert on percussion, all have a knack for playing improvised music that is both creative and mature. There is a genuineness to their interactions as a group that allows the smoother moments to sound fresh and the more angular offerings to remain inobtrusive. 

While the recording is made up of 15 individual tracks, they flow naturally into one another and give the entirety of the album an undulating feel. This leaves an untrained listener with a lengthy but interesting meditation, while maintaining enough ebbs and flows to keep even the most expert set of ears enthralled. 

Lambert’s vocals sound simple and pure enough to emphasize the poetry she has written, but the way she shapes her pitch over Schwager’s chordal textures is virtuosic as well. The same can be said of Michel Lambert’s percussion, which seamlessly traverses grooves and out-of-time textures. To know that most of these tracks were recorded in one take, moments after the words had been written, is another testament to the creative ability of these players. While far from being “straight ahead,” Genius Loci North offers something interesting for all listeners.

Glow
François Carrier; Diego Caicedo; Pablo Schvarzman; Michel Lambert
Colya Koo Music (francoiscarrier.bandcamp.com)

While two Canadians and two South Americans meeting in a Barcelona bar has all the elements of a shaggy dog story, that’s what happened with Glow; although instead of a punchline what we get here is a session of superior improvised music. Canadians, alto saxophonist François Carrier and drummer Michel Lambert, along with Colombian guitarist Diego Caicedo and Argentinean Pablo Schvarzman, who employs guitar and electronics, both now Spanish residents, operate as one unit during the CD’s five tracks.

Emphasizing voltage extensions throughout, not only do the guitarists project expected twangs, frails and strums, but Schvarzman’s electronics also produce an undulating drone as well as throbbing vibrations which frequently mirror double bass sluices. Lambert’s irregular drum patterning is used for coloration not rhythmic pulse, which leaves performances twisted every which way by Carrier and Caicedo.

Hammering or picking his strings, the guitarist moves from reflective accompaniment to brittle adagio shakes. The saxophonist doesn’t play standard licks but overlays each track with a variety of effects from screaming fragmented bites to harsh breathy honks and slurs. Unique tropes evolve throughout to establish collective equilibrium. This is aptly demonstrated when the set climaxes with Heart Core, the penultimate track. Repeated string ratcheting strokes coupled with reed motifs soaring from dyspeptic scoops to bagpipe-like drones to staccato tongue flutters, reach such a point of pressurized intensity that they seem unstoppable, but quickly and easily downturn to relaxed timbres later on.

Glow is no joke just fine exploratory music.

Spring 2021
René Lussier; Erick d’Orion; Robbie Kuster; Martin Tétreault
Victo CD 134 (victo.qc.ca)

The Victo record label is almost as venerable as the Victoriaville, Quebec FIMAV festival that gave it birth, and this disc is a signal moment in the history of both. The performance comes from the May 2021 festival, a hardy, insistent edition with a Quebec focus following the pandemic-cancelled 2020 festival. The recording marks the label’s 35th anniversary with special significance: the first recording issued was a guitar duet that also featured René Lussier, then in the company of Fred Frith. 

In keeping with the festival’s ideal of musique actuel, current music, this resists classification, a collective improvisational, combining Lussier’s electric guitar and daxophone (a bowed, fretted instrument), Robbie Kuster’s drums, Érick d’Orion’s computer and electronics and Martin Tétreault’s turntables. It blurs categories of electronic music, free jazz and anarcho-rock, the latter sometimes suggested by Kuster’s steady beat anchoring disparate elements. 

The music’s aim is neither clarity nor easy consumption; its strengths are in its vision, energy and a palpable sense of resistance. Lussier’s guitar is often the central voice, hard-edged, icy, sometimes distorted, at times limpidly lyrical. He can supply a focal element whether creating a keening, electric wail or shifting to the barely amplified wandering of L’avant dernière. L’autre, a nine-minute segment near the temporal centre of the work, develops mysterious and distinct layers and events that are almost sculpturally arrayed in the sound field, the seemingly independent parts ultimately evolving into part of a collective vision.

Knotted Threads
Yves Charuest; Benedict Taylor
Tour de Bras tdb 90048/Inexhaustible Editions ie040 (tourdebras.bandcamp.com)

Montreal-based alto saxophonist Yves Charuest is a free improviser of the highest order, a musician of rare depth and originality. During a six-month residency in London in 2017, he heard English violist Benedict Taylor, felt an immediate affinity and soon began a collaboration that joins two of the closest listeners in improvised music. In 2019, Charuest arranged some Montreal performances for the duo and dancer Alanna Kraaijiveld, during which time he and Taylor recorded Knotted Threads.     

There are innate difficulties in describing any music, but the problems compound with free improvisation. While one is free to say almost anything, finding something relevant is a challenge. Charuest and Taylor, generously, provide an ideal metaphor for their work: a series of titles taken from arcane knots used by fishermen, sailors and craftsmen for centuries, thereby highlighting both the practice and goal of their special idiom. Each is a virtuoso of extended as well as conventional techniques, each an explorer of sonority, attacks and decays – to the extent that their sounds, like their pitch ranges, intersect. Gauzy and gritty harmonics, whether bowed or blown; percussive knocks, whether plucked string or struck keypad; subtle shifts in dynamics or sudden glissandi: they all intertwine in myriad ways, whether designated as Ossel Hitch, Round Lashing, Poldo Tackle or Bimini Twist. 

There are moments when the whole voyage is revealed. On Chain Sinnet, the viola sounds like a rope stretching against a gunwale, the saxophone like gulls, landed in the bow – yet all of it human, rope and gull crying as one. It’s an hour of music with the precision and gravitas of several chapters of Homer’s Odyssey or Moby Dick.