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«Montreal<br />
mainstreaming<br />
by ANNIE LANDREVILLE<br />
Alexandre Côté: Transitions<br />
Effendi FND 114 (www.effendirecords.com)<br />
★★★★✩✩<br />
Much in demand as a<br />
sideman, saxophonist<br />
Alexandre Côté has<br />
finally issued a first<br />
recording under his own<br />
name. This veteran of<br />
some 40 record sessions<br />
also teaches at the St-<br />
<strong>La</strong>urent Cegep. In 2012 he was heard on Rémi<br />
Bolduc’s disc Hommage à Charlie Parker, this<br />
year’s winner of a Félix award for jazz. <strong>La</strong>st summer<br />
Côté earned the TD Jazz Award at Montreal’s<br />
international Jazz Festival, which lead<br />
him to record the present album. He is ably<br />
assisted here by Jonathan Cayer (piano), Dave<br />
Mossing (trumpet), Kevin Warren (drums) and<br />
Dave Watts (bass), with tenor saxophonist<br />
David Bellemare guesting on two tracks. Its title,<br />
Transitions, indicates a shift to a leader’s role<br />
from a musician who has earned his sideman<br />
stripes over the years. It is as much a record<br />
geared towards the future as the past, and of the<br />
pieces two pay tribute to influential figures on<br />
his development, namely, “Blues pour Ornette,”<br />
and “Wayne’s Spirit” (the latter with a sterling<br />
alto solo), with a nod to the birthplace of jazz in<br />
“New Orleans Groove.” He is heard on alto<br />
throughout, his main axe. His broad musical<br />
knowledge allows him to strike a perfect balance<br />
between modern jazz, which is now classic in its<br />
own right, and his own leanings towards more<br />
contemporary styles. Let’s hope he doesn’t wait<br />
too long to follow up on this fine first effort!<br />
Steve Amirault: One existence<br />
Self-produced by the artist (www.steveamirault.com)<br />
★★★✩✩✩<br />
Steve Amirault is one of<br />
the top jazz pianomen<br />
in Montreal. At once<br />
versatile and precise, he<br />
knows how to impress<br />
listeners when performing.<br />
For some time now, this Acadian-born pianist<br />
has been writing songs, but he has<br />
decided to take the plunge and record them<br />
himself. All but one track are penned by him,<br />
the exception being the music to “Live to<br />
Love”, written by his guitarist brother Greg.<br />
This is very much a do-it-yourself endeavour,<br />
and the album was subsidized through presales.<br />
On it he is ably backed by bassist Rémi-<br />
Jean Leblanc and drummer Samuel Joly. All<br />
but two tracks have English lyrics; the exceptions<br />
are sung in French (albeit a little awkwardly),<br />
one in tribute to his grandmother, the<br />
other to Acadian history. There’s a pop tinge to<br />
the music but it’s still firmly rooted in jazz.<br />
Steve Amirault has an interesting voice, deep<br />
toned, with a solid grasp of melody, somewhere<br />
between that of a crooner and a singer<br />
of musicals. The melodies are fine indeed but<br />
off the record<br />
not devoid of clichés. “Heroes”, which lasts<br />
over nine minutes, is the only cut where the<br />
trio stretches out, and the group’s presence is<br />
better felt here as is the case when on stage,<br />
where Amirault the singer is far more convincing.<br />
TRANSLATION: ELISABETH GILLIES<br />
Taurey Butler: Taurey Butler<br />
Justin Time JUST 242 (www.justin-time.com)<br />
★★★✩✩✩<br />
Taurey Butler is without<br />
question a flamboyant<br />
pianist. His playing is at<br />
once energetic, voluble,<br />
at times excessive, as if<br />
he wants to cram all existing<br />
notes onto one<br />
disc. A very melodic<br />
player and a hard swinger to boot, he’s definitely<br />
influenced by Oscar Peterson, to the<br />
point of fully assuming his role model’s<br />
stylings. On this debut, he alternates between<br />
old evergreens like “Moonlight in Vermont”<br />
and “The <strong>La</strong>dy is a Tramp”, and originals very<br />
much in keeping with the standard jazz idiom.<br />
Taurey Butler likes solid melodies and plays<br />
his own tunes with lots of expression, for instance<br />
“Grandpa Ted’s Tune” and “The<br />
Preacher,” the latter very well rendered and<br />
with an authentic gospel feel to it. His trio<br />
mates, drummer Walli Muhammad and<br />
bassist Éric <strong>La</strong>gacé, are discreet in their supporting<br />
roles, and take only brief yet faultlessly<br />
played solos.<br />
TRANSLATION: ARIADNE LIH<br />
Improv<br />
«and beyond<br />
by MARC CHÉNARD<br />
Mecha Fixes Clock: Teoria dell’elastica<br />
di Girolamo Papariello<br />
Ambiances magnétiques CD 202<br />
(www.coactuelle.com)<br />
★★★★✩✩<br />
Percussionist Michel-F.<br />
Côté is one musician<br />
who invests himself in<br />
projects of every shape<br />
and size, be they theatre<br />
and dance, free acoustic<br />
and electronic improvisation,<br />
or carefully conceived<br />
orchestral works. This last area of<br />
interest defines the newest recording of his ensemble<br />
Mecha Fixes Clock. This outfit of 11<br />
players includes seven strings, three winds and<br />
as many musicians on electronics, including<br />
the leader. Each of the seven tracks of this<br />
rather brief side evokes a kind of ethereal<br />
soundscape. On his kit, Côté beats out an essentially<br />
binary pulse indicative of his musical<br />
background in alternative rock. Given this the<br />
listener should not expect any free jazz outbreaks,<br />
nor swirling collective improvisations,<br />
but a very tight group discipline more characteristic<br />
of contemporary chamber music. At 42<br />
minutes, this disc might seem short at first<br />
glance, but its length is in fact adequate, as the<br />
music operates within more restricted dynamic<br />
confines. TRANSLATION: ARIADNE LIH<br />
maïkotron unit: Ex-Voto<br />
Rant 140 (www.jazzfromrant.com)<br />
★★★★✩✩<br />
The maïkotron Unit,<br />
winners of the François-<br />
Marcaurelle prize at this<br />
year’s Off Festival de<br />
jazz, is one of the most<br />
durable yet least wellknown<br />
improvisational<br />
ensembles in Quebec.<br />
Founded in the 1980s, the trio issued its seventh<br />
release last spring and first CD, all previous ones<br />
issued in LP format. The maïkotron is a somewhat<br />
unwieldy sounding brass instrument invented<br />
by the group’s reedman Michel Côté:<br />
comprised of a series of valves and a saxophone<br />
mouthpiece, it produces low buzzing tones in the<br />
bass clarinet or contrabass clarinet range (both of<br />
which Côté plays). Both he and his brother Pierre<br />
(on cello and bass) are stalwarts of the Quebec<br />
City jazz scene; drummer Michel <strong>La</strong>mbert, also a<br />
native of the province’s capital, spent many years<br />
in Toronto before settling in Montreal. The main<br />
source of inspiration here are 12 ex-voto style<br />
paintings created by the drummer, illustrated inside<br />
the sleeve. All told, there are 20 pieces contained<br />
in this 58-minute side, some atmospheric<br />
in nature, others more rhythmic, particularly<br />
those featuring the soprano sax. Oddly enough,<br />
the maïkotron, played by the two Michels, is not<br />
heard very prominently. Because there are so<br />
many short pieces (only one exceeds 5 minutes),<br />
the musicians seem more content to establish<br />
moods than trying to develop them. Having listened<br />
to the recording prior to attending their recent<br />
live performance, I had hoped that this team<br />
would stretch out more, which they did, but it<br />
still fell short in getting the music to lift.<br />
TRANS.: DAYNA LAMOTHE<br />
DECEMBER 2011 / JANUARY 2012 39