IRWIN BLOCK

Nothing but the music

Carrier and friends play improv concerts

Credit saxophonist Francois Carrier with the integrity and the guts to set the ground rules for five coming concerts: No talking, no smoking, no drinking in the audience.

As for the music, it's a blank slate and will stay that way until the musicians hit the first note and begin improvising.

That's fine by guest Gary Peacock, one of the pre-eminent bass players in jazz and one-third of the most successful improvising ensemble on the planet, the one with pianist Keith Jarrett and drummer Jack DeJohnette.

From his home in Claryville, N.Y., Peacock said he was intrigued by the prospect of reuniting with Carrier. They had performed here in 2003 with pianist Paul Bley, and recorded Traveling Light. "I'm kind of interested to see how this is going to unfold. It could be something really nice and really unique."

Peacock and Carrier will perform May 5 and 6 with trumpeter Tomasz Stanko, violist Mat Maneri and drummer Michel Lambert, closing the five-day series at the Theatre La Chapelle.

Although he has played with such giants as pianist Bill Evans and saxophonist Albert Ayler, Peacock says the gigs here will be unique in that a video artist, Etienne de Massy, will be creating on stage as the musicians perform.

"I've never been involved with a musical project that had something extra-musical connected with it. As long as I am not pressed to interact, I should be all right because I usually play with my eyes closed."

Peacock says that he has been playing free - as opposed to structured - music for so long that there is not much difference for him between the two.

"The music happens from a different place. It's all about the ear, and once I surrender to the ear, the rest of it takes care of itself," he said.

"There is no intention that free music has to sound a certain way or that structured music has to obey particular guidelines. Structured music is about the melody; free music can be about the shape or the context.

"Once you can let all that go, the musical environment is what provides the opportunity for expression of music."

François Carrier

Avoir de la suite dans les idées est une constance pour réussir. Le saxophoniste alto François Carrier, qui partage sa vie entre le Vieux Continent et Montréal, nous invite à un mini festival de musique improvisée. Sous le thème de la démesure ou presque, Il recevra à la tête de son ensemble quelques fines lames du jazz que l'on voit peu souvent, hormis lors des grands événements. Amis de la note bleue, salivons puisque le grand contrebassiste Gary Peacock (Sonny Rollins, Roland Kirk, Paul Bley) sera des nôtre vendredi 5 et samedi 6 mai avec le trompettiste Tomasz Stanko, pilier de l'étiquette ECM, ainsi que le violoniste Mat Maneri. En plus, peintre, danseuses et vidéaste se joindront à cette équipe. Jazz éclaté assuré.

Christophe Rodriguez
ici / 27 avril 2006

Maneri, Peacock, Stanko, Carrier and Lambert
(Evening 4 of the Happening Musical Series)

This was the ideal opportunity to catch (soon-to-be) 71 year-old bassist Gary Peacock, a legendary artist who’s worked with Albert Ayler, Paul Bley, Roland Kirk, Miles Davis, and most recently, pianist Keith Jarrett and percussionist Jack DeJohnette. Théâtre La Chapelle is a quaint 90-seat location tucked away from the hussle and bussle of St-Laurent Boulevard, just one street east on St-Dominique. In fact it was so quaint, I could easily see Gary Peacock when he actually opened his eyes from time to time, and was quick to notice his nimble fingers from the very start, subtly entranced in the surroundings. Local saxophone hero François Carrier was behind the entire 5-night series (which also featured guitarist Reg Schwager, drummer John Heward, and saxophonist Yannick Rieu during the week). He welcomed the participants to the imagination séance, then directly asked everyone to put away their cell phones and avoid taking any photographs- “or else”.

The quintet delivered exactly what most in attendance expected; good old fashioned jazz improvisation, free of restraints and open to endless possibilities. Before some suitably evocative, if not occasionally erratic film sequences by video artist Etienne de Massy, the improvisation team provided two captivating two-piece sets, never losing sight of the convocation, really hitting their stride during the latter portion, when bassist Peacock and trumpeter Tomasz Stanko performed a riveting sequence of inventive beauty, displaying their talent like that small moment before the paint splashes to the canvas, only extended out of pure pleasure for the impressionable instant. The others later joined in, turning everything into a full landscape of fanciful delight. Violinist Mat Maneri was equally impressive (despite a long train ride from NYC), his towel over the shoulder the entire time, gently smothering the strings with his bow, toying with drama over expressive facial gestures. Montreal percussionist Michel Lambert may have been the biggest surprise, masterfully towering over the kit with depth and precision, not to mention a snazzy outfit. A deeply satisfying experience on a night when I was just suppose to stay home and watch a little hockey.

Jay Jay Erickson