June 29 - Bonne fête, Jean Derome, qui espionnait joyeusement mes textes en direct au bon moment
(June 29 - Happy Birthday Jean Derome, who was joyfully spying on my live description of Jon Rose in performance at the Victoriaville International Musique Actuelle Festival, in 1994.)
Photo de Jean Derome du Wikipedia pris par John Pham pis il veut que vous le sachez
(screenshot from this article/interview with Jon Rose):
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One of my very first simultaneous descriptions (essentially sports play-by-play put to use to describe free improv) was of Jon Rose during his solo set at the 1994 Festival de Musique Actuelle de Victoriaville, Québec, câline. I had just gotten my first laptop with a writer’s grant to write about… New Music America… and I wanted to give Jon a gift in thanks for the good times we had spent at the 1986 Houston festival.
What I didn’t know was that Jean Derome was standing behind me in Victoriaville, reading along as I created descriptions in real time, while listening/watching himself the performance. We met afterwards, the first time my writing has attracted a friend in real time!
A couple of weeks later, Jean then talked about it (the text which follows) on national (français) radio saying, “what was interesting was being able to see how someone else thought about what I was hearing without it interfering with my own hearing of it.”
Yup, he got it from the start.
=============================================
Part one:
Jon Rose at the Festival international de musique(s) actuelle(s) de Victoriaville, Québec.
Jon was here to perform his work Violin Music in the Age of Shopping (with Joelle Léandre among others) but for the first part of the evening, he was solo with a whole bunch of gadgets, all of his own invention, and violins.
FIMAV 94
What follows was written in real time (times are Eastern Standard Time; I am witnessing this from the back of a hockey arena modified for the annual festival (which they seem to have lost in 2023 as a venue). The only thing changed from that day is punctuation or such things as to make it more presentable and hopefully readable.
May 22, 1994
21:57
Testing, testing.
Well, this is the only plug I could find; I'm at the extreme right of the ColisŽe room, getting ready for the Jon Rose performance. This may become a description of the sonic qualities because a) I am some 200 feet away from the stage and Jon will appear probably only an inch tall from here, and b) this is the place where people congregate when they can't decide whether they want to go in or out.
Now, I could choose to be an obnoxious critic type and insist that they move out of the way (should the need occur), but like I said, even if they move out of the way, I probably won't see anything.
The set is like a sort of American sitcom representation of the lower class decor; very nice wood couch draped with an inferior cover, several small objects which will most likely be used to produce squealing and squeaking sounds, about a te foot high pile of empty boxes (obviously produced from the shopping mall across the street - how about that for appropriate venue? This is the only concert stage near a shopping mall, you see...), a cash register, a set up for digital musical production, lots of squiggy things on the stage right (my left), paper cups and debris strewn all over the place.
Michel is here: announcing that the first portion will be solo, about twenty minutes long, and followed by the Shopping Theme piece which will employ the entire ensemble. "On commence tout de suite aprs avoir dit in English", dit Michel. "Is it big enough, the big piece?".
Jon Rose comes onto the scene.
High frequency tone followed by light fluctuations, establishing a tonal centre around that base frequency, the fiddle sounding a bit like mid-Eastern tonality, floating. A bit of feedback (intentional or not? Seems not because he surfed out of that high squeal)...
2207 He starts to shift away from the high frequency, still gliding around the high notes, pushing each time and grandly hitting the same pressure, much louder, in the lower octave. Rhythmic bridges of about three seconds, followed by very fast gliding through the registers, punctuated by a bottom note repetition of a high velocity. Note: it is pretty hard to keep up and at this point I have a wall of people standing in front of me. He is producing sounds that sound like harmonic rhythm patterns, but suddenly starts to slice at it from every angle, diagonal cuts, a Paganini burst, Paganini becomes Glass on speed, then Reich at wrong speed, and a rumble is created permitting him to be simultanously accompanying himself. Motor driven sounds at this point, allowing a kind of a harpsichord ambience against the motor driven rhythm and the slicing across the octaves. Feedback type tonal bridge and back to the speed fiddle.
2210 Feels out the tones and the burst become shorter and believe it or not, faster. Circular pattern, being shot out into the mid air and finally ... oh, I just noticed that there is no one standing between me and Jon and that I can see him clearly.
That Paganini twirls again, with some kind of rumble underneath which sounds like the sort of bass support I heard last night during the Glenn Spearman. Multiharmonics entering the picture and now all the elements are slicing against each other. Solid rhythm tone, swirls up towards register capacity, sound that imitates piano upper register, and the return of the harpsichord timbral quality, followed by squeaking upper circular tones, and hitting a repeat pattern on a few notes.
Back to the bass rumble (2213), and now drifting quickly back and forth between the rumble force and the upper register biting. This of course is all amplified, but the amplification seems to be for clarity of large room quality. Patterns holding and circles become larger in shape, finally squealing into softness while not losing the speed. A sound like a pedal steel train (yes, that's what I mean) followed by the introduction of microtonalities electronic in nature, now moving towards the reinvention of the Hammond organ (supported by soft fiddle harmonics)
Back to the harpsichord (ok, it sounds like DX7 too), which pushes into a flutter of electronic harmonics (fiddle always chattering away in the upper register, rumble becoming more predominant). Insert of long form burps, matched by upper harmonic twirls and electronic pitching.
Fast fluttering producing rapid clicking, which he plays with a fun intensity (all of this is quite light), and the clicks are broken up by burps of colour, drifting into 70s moog stylings for a few seconds, piano imiation (don't ask me how he does it), and he uses those colors to play catch with his fiddle tones. He keeps them and now the swirls seem to have shifted into electronic tones.
Long organ sounds supported by soft chamber violin, as if you were listening to Beethoven (late quartets) at the wrong speed on a bad radio (but enjoying it nonetheless)... this moves into a two or three note swirling pattern, and finally into a Mellotronish cloud (actually streaks of colour would be the better comparison), and the holding pattern is definite.
Moog like tone again seems to indicate bridge and the tones are backing into a very nice ambience which is backwards played orchestration. Swirls at the top end again, slicing and again jumping to an octave or two lower on the harmonics.
This now sounds like a fight between bulldogs that seem to have a crush on each other (puppy passion?) followed by another run or through diagonally up and down the scale. Running again (actually, I don't think he's slowed down since the start).
A bunch of clicks leads into electric guitar type fury, fuzzing short notes until they become a plummeling drive into a wall, with the drum bursts completing the end of each paragraph. This gets more frenetic (geez, I seem to be running out of superiority descriptions at this point) until this rumbles loudly into a breaking pattern.
Suddenly a cohesive bridge of funk and right back into fuzz fury, followed by fiddle folly, followed by the bleeps and bloops of a nice electronic work (circa 1969), and these are now swirled in a circular holding patterns.
Lullabye (with feedback decoration) tones, followed by a stop-start bridge, and finally back into Paganini tones, and back to what I guess could be called the theme of the piece. Bloops and piano tones (Nancarrow maybe, on an electric piano), is fed through the whole mix, then backwards speedmetalfiddle, and softly into the bloops (I guess he just went into a tunnel), splashes (I guess he just came out the water) and down into a moog tone.
Whale sounds finding themselves swirling in soft motions, a nice dance accompaniment type tone, and the backwards swirls now support the upper register Paganini fluttering). Buzzsaw introduced over real Paganini riffs (sorry I can't find another allusion.. Kreisler?) lead into frenetic fuzzing (all the time slowly going down the scales), the fuzz growing, and finally buzzsaw over pizzicato, buzzsaw dominating, but fiddle trying to cut through the morass,
and suddenly cut into a soft bloop pattern, with bass tones establishing a note for long (here long means about .66 second) slices. Bloops now feeding into tinwhistle background, slice, slice, and cutting away (bloops now gone, harpsichord back), and the fiddling is back in fury with the accompanying fluctuations).
Bloops and tones softly talking to each other, one note holding itself against an undercurrent, bass tones providing a puncutation, or something to return, three note variations with rumble support, pushing harder, branching out into up, low and up octaves.
2228 Harpsichord back with circular rhythms, rumble backing here (these are provided one at the time), and the whole thing settles on very soft backward tones, back into fury, hesitation, hesitation against rumble, hesitation pushing against rumble, burp, bloops on a very high tension piano, microtones being sprouted in every direction.
Finally, chopping against the bottom end of the fuzz tones, and now into hard bass, followed by guitar fuzz, supported by jackhammer fuzz, branching out into electric guitar fury (keep in mind he looks quite dignified throughout all of this opening section), very hard sledgehammer bass support, fuzz running hard against the wall of bass sludge (actually, sludge is mean, because all of this has a crystal clarity).
Back into moog fury (the electric guitar has not yet left us). (Oh, it has now left us), and the fuzz bass tones are now running against a wall. Very very soft pizzicado, sneezing, rumble against the bottom of the bridge, back to funk machine like fury, and finally slicing out into fuzz rock vocabulary (with machine bass support), finally with the rumbles of an amok assembly line production device of a very high quality in which someone forgot to fasten a bolt, because it sounds like it's going to explode, followed by an alarm and a final fiddle volley. Constant polite applause.
"merci". "quinze minutes".
intermission.
Now, a word or two about the decor while we cool our bearings. This is usually an arena, a rare all metal arena, and they have done a bang up job with the acousting tiling on the ceiling (placed in perpendicular patterns). No awkward resonance (yeah, wait until Borbetomagus comes in here tomorrow, though...) has been heard even through the most painful of Diamanda Galas' shreiking. The three non-stage walls are decked out with the large formats of Rene (I forgot his last name) and these have truly impressed me throughout the festival, allowing a shy person to imagine himself at a gallery opening rather than feeling as if he (or she) should find someone to talk to.
I counted over one hundred light standards over the main stage, adeptly handled by the staff for all the moods that I've seen portrayed by the various artists (this is my third show here), and the floor has been carpeted with the indoor-outdoor stuff you find on patios. The chairs are the plastic fold type, but if there are funky rhythms you can almost rock in them comfortably if you feel too self conscious to dance.
Jon remarked that he felt nervous about holding a whole stage of that size by himself, and he resolved it by standing at absolute stage left throughout the opening solo. But it's the floor space that is immense, and it must have been perfect for Claude Schryer's veloperformance yesterday.
The back wall (all three non-stage walls are matted with thick velour black curtains) contains the largest work by the featured visual artist, a 3 x 7 (10 X 10 feet each approximately) collage of immense patterns. At the opening vernissage, he remarked that the creation of most of these works have been inspired by the listening of music, though he never mentioned which.
Actually, my favorite one is back at the Grand Café, where the largest work is composed of hundred of wood panels all melded together with a sort of lightning bolt (or aerial photography of a river type pattern) crossing the squarity of it all.
============================
I would meet up with Jean Derome in Newfoundland in July of that year and he asked me to write about his performances with the ensemble Baume. That produced the following:
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Baume en concert *** in performance
L.S.P.U. hall at the Sound Symposium 1994.7
Simultaneous Description by Georges Dupuis
This text was written entirely during the performance of Baume; the only changes were corrections of typos and addition of punctuation, unless noted otherwise. Time references are at the point of writing.
All reference are from audience left and right. Dodik Gédouin is to the left, Pierre Tanguay in the centre on the drum kit and Jean Derome on the right.
1. "Bumadano Djogat"
pour (for) voix, flute, synthétiseur, bol et ghatham (ceramic percussion)
Long tone on the waterbowl. Rubbing against the ghatham to the left, everything soft. The chimes are thick and full, soft flute to the right, with a gradual flutter. Soft child's voice floating throughout. Dodik speaks in a spoken voice, a foreign tongue softly pronouncing a lullabye. Soft harmonics come in the back filling the space, but not pushing away the silence. The spoken words become sentence wails, gong punctuating gently throughout. Silence swirls around and replaces rhythm. Jean blows long soft notes on his elongated flute, and the gongs from the ghatham are accompanied by brush strokes, suggesting particles floating in the wind.
The flute pierces gently her vocal with middle-eastern birdsong, and her spoken voice has branched into a wail that is not harsh but insistent. Until it moves up in intensity, bringing synthtones with it. The only rhythm is akin to a heartbeat, and Jean starts to use the flute to make a bird flutter, then a wail of his own on the small flute. She sings and speaks at the same time, telling us something gently in that tongue, and now the gong-bowl has introduced the first rhythm, accompanied by gentle high pitched tones, which die away again.
Her voice is as clear as a speech but patient as a mother teaching her baby a lesson. Flute is played in a lower tone, and soft bowl touches end the piece.
2. "Kulusemama"
pour voix, sax, batterie (percussion)
"Bonsoir" "If I fall down, I wake up" or "If I fall down, I stand up" There seems to be a double translation.
Three strong words spoken, three or four sung, buffeted at first by soft drum rolls, then strong drum beats, and with the addition of the sax, her sentences become at first punctuated by the others, who finally surround her and then then join her in a strong anthem-like singing, but this is an anthem that belongs to some sort of funky country. She sings in definite phrases, with the sax pushing a decoration onto the end of each phrase, which has now become very forceful, with a wail ending in a silence. There is some kind of a deep bass drum salsa beat (which is not a norm; they like high-hats to do this sort of thing) and it progresses to a half-aria, half jazz scat. The drum rolls continue very strongly and would dominate were it not for Jean's melodic weaving in and around the pounding, and her ability to float above the strong beat.
The aria is variated with a couple of spoken lines, and then she dances while drum and sax tear into heavy-funky dance mode (why isn't anyone else joining them? Must be the habits of the auditorium syndrome). Sax blares into longer lines, and drum kit is charging; Dodik is no longer dancing in place, but moving slightly to left and right, with elbows up high, and her visual focal point somethere about a foot ahead of her on the floor. Jean pushes hard and Pierre supports him et le tout est trs circulaire, tout en gardant le rhythme. En quelque part, le salsa se trouve, mais les battements forcées sur le grand tambour domine, and then Pierre hits a series of rolls to which Dodik comes in singing phrases, ending each with a strong vocal tone, and once again she takes the lead, without it having been too much of a solo. She is wearing a broad smile and looking up to the skies, hits a single long operatic note, while is supported by rolling bass drum and a very melodic singing tone from Jean who seems to have slipped a bit sonically. Another very long tone, and one of those really high notes wavering, and descending quickly as if someone has moved the volume control a bit down. Jean starts fluttering a rubber (I think) squeaking device, bang, and all that is left is the soft squeaking of that rubber (or rubber-like) thing.
3. Spéré
pour voix, kalimba (African thumb piano), voix, sax, chant, tabla (Indian percussion) et voix
(2230) "That last song was about a strong mother"
"Regarde plus fond, regarde plus loin, regarde la terre" sung in three strong lines, and one soft one which introduces the kalimba providing fuzz rhythm, counterpointed by the tabla and ceramic bowl. The lyrics say "see very deep, look further, look at the earth" sung, then almost whispered as birdsong is introduced by Jean (Pierre moving away and coming back in almost a reggae beat on the bowl). Jean's singing bird is accompanied by a soft child's vocal in the back of the room (which fits in nicely), and it floats gently up and down her tonal centre. She is no longer speaking words, but has joined Jean in tone and Pierre in rhythm. I hear a cuica, but there is none around. Soft grunts are added to the rhythm which is punctuated by the cries of other animals in this marvellous kingdom, and now Dodik starts skipping above both rhythm. Many sounds seem to be coming from unapparent instruments (Jean can sometimes be a magician), and Dodik moves to flutter-scats heavily supported by the kalimba buzz and the bass of Pierre's tabla-jar percussion. Jean has moved into a click-click pattern and Dodik is playing with it. Oh, it's Pierre who was making those strange cries on the left, Dodik has returned to the chorus, and we're back in the near-reggae mode by Jean and the deep bass of Pierre. Aria on the last line, holding the note strongly (Pierre cry-wail softly decorating) and the last line is spoken, with the last words "tu vas voler, voler", you will fly, fly, and grumbles like frogs (or Tibetans) surround these last lines. "Jodi", being the last syllable, sung accapella.
2238
4. Flying Cat
pour voix, voix, sax, et batterie arrangée (specialized percussion)
2238
Very low tones on the synth, funk beat with a heavy fuzz being established; this is the first conventional dance rhythm of the night (but by no means not the only dance rhythm) with Pierre on the drum kit and using a very mangled trash-cymbal for strong phrase ending. Dodik is moving to this beat with angular movements, and Jean has added a hoarse vocal counter-rhythm, always using those four-note tones on his small synth.
"You see that girl who is dancing there" is the first line of the song. Pierre clicks at the end of the sentence; Dodik starts by speaking the first line but moves into singsong, moving quickly for emphasis up and down the vocal line. This is about a dancing woman, and our attention is drawn to her movements, as our eyes move on Dodik's movements herself.
Just as it seems that this is going to be conventional sing song, the beats are filled in and Jean starts to squeak between his synth beats, and his time her vocal has hit occasional aria ending, but now she's speaking to us, explaining that this woman has much about her; it's a cat, she says, a cat that moves in certain manners that are fascinating to watch, oooooooooooo, and bang-clang, and the cat tune has taken over. The audience has started to have a couple of members clapping along (most notably that winner of a haircut who is a Symposium participant; she knows how to have fun); and silence sometimes completes a beat.
Jean's three note bass on the synth has been continual throughout, and Dodik has started to wail at the end of her phrases, and Jean has replaced her wailing with two or three wail phrases moving into scattershot counterpoint, and he's actually playing both sax and synth at the same time, never missing a beat. Speaking about beats, Pierre has added a flutter among his crash-hits on the mangled percussion, Jean floating and squeaking and Dodik returning, asking "qu'est-ce que c'est, a?", what is that? (her words, not mine), and the answer in long notes proudly sung loudly: Flying Cat.
Cowbell beat has been added by Pierre, and one last word-note ends the piece.
5. Lonely Eye Can't See
pour voix, synth, sax, et flute ˆ coulisse (sliding flute)
Pierre: "Lonely Eye".
2247
Sax tone, matched by Dodik, three notes in unison, a phrase by the two in phased harmony, with strong underbeat, Jean and Dodik matched in drifting unison, and her words begin with a wistfulness, but she stretches her syllables into the silence. There is no beat yet, but the percussion, soft beats, end the phrases. Soft crash on the cymbal, whispering by Dodik, and Jean adds a couple of slightly atonal chords. The tone is very hushed, and she has moved into whispered doo-ahhs, again stretching the tones until they fade away. She whispers in soft song, and the double accompaniment is almost totally muted; silence is not so much dominant here as it is the ambient quality.
Jean adds a sliding tone on his flute, like a sad air-raid siren (very soft), and she puncutates his moving tones with short syllables, and finally a soft crash. Sax added, long but soft notes (we can almost hear Jean's non-musical blowing) and this moves into a slightly melancholic wail reminiscent of middle-eastern tones, followed by less melancholic short phrases. Dodik squeaks in the really high register, but very softly moving into barely perceptible shrieking (is this a contradiction?), and now I note that there has been a rhythm, but it is so slow, that it should be called a cycle, with which Dodik and Jean move through in very meditative steps. Pierre's bass drum is used to maximum sustaining effect, and Jean has brought back the jazz tones to match her soft song (this is what I had in mind when I mentioned early Flora Purim in the Symposium catalogue); this is like Return to Forever's first album, but permeated by a meditative spirituality. The soft child's voice sings along (is this Dodik's kid? seems that way), and the last two notes are whispered as they fade away.
6. Yoyo
pour voix, sax et batterie
Triple cry, vibrato in a very high octave, swirling high pitched resonances, silence broken by child word. Even louder triple cry, sustained, the child says okay, and they go into a third, less soft, always ending in silence. Child speaks right on the beat, and all two wailing flutes bookend Dodik's whispers, wail here being close to Middle-Eastern prayer wails. Wails sustained and two flutes very closely harmonically matched. Jean has a long tube and Pierre has a long flute, and all three are now producing that triple unison circular high pitched, and Pierre throws in a beat. "My Head Is Like A Yoyo", and bang: Pierre hits into snare overdrive, extremely fast almost motor driven, and Dodik's sentences are strong, forceful and proud, with Jean decorating her phrase endings with very short swirling tones. The motor driven Pierre is still in continual strong single beat, and now he has added a second beat; it should be noted here that although he is very fast, he is also extremely clear and linear in the progression of the rolls. Dodik colors his drumming and Jean colors her singing, all in a strong, forward motion. This is a song of pride, but the bursting is from Pierre, who seems to favor keeping the motorized fastbeat and adding crashes somewhere in there, somehow. Jean's blaring is now constant, and the room is absolutely filled with aria, sax blares and Pierre's full throttle (how is it that I have come across with these car analogies?); she is singing something but the momentum of the united tonalities makes it a bit hard to hear what exactly she is saying, but no matter; it's harmonically correct.
They die down for a bit, Pierre now into the bop mode, and Jean into the blare mode, throwing in the odd sax phrase taken from the history of bop, and Dodik has assumed a watching-the-others-do-their-solo stance. But she's back before too long, singing and throwing in the occasional high wail to decorate her long long long long stretched tones. Jean wails through her syllables, which become fragmented with his, Pierre is back into the motor driven mode, and finally, crash, the end.
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Which led to this when I was able to travel to Montréal in 1996 and at Jean’s insistance, I sat on stage for nine consecutive concerts by René Lussier (four duos, four ensembles, one four hour 14 musician jam) and wrote 25,000 words about it all in real time.
This is the duet he had with Jean Derome, and they always go under the duo name Les Granules. At New Music America 1990, it was converted into a one time fifteen piece orchestra for a spectrum gig. More about that in November.
photo volée du site de le devoir qui avait un profile de Le Trésor de la Langue en 2007 ici:
René Lussier et Jean Derome
Montréal, samedi 26 octobre 1996
20h30
Théâtre La Chappelle
Lussier carte blanche 7
Les Granules
Jean Derome (flétes, saxophones, etc.)
René Lussier (guitare)
2045
Présentation d'ouverture. On commence avec "la société est malade". Voici les Granules Homéopathiques Musicales, en solution, pour être entendus et non avalés.
2046
On commence dans le silence et le noir. Chuchottements à peine entendables, sifflets, et un arc-en-ciel de strophes guitariques électriques qui sont inondés par une panoplie de sifflets d'oiseaux, comme les oiseaux épeurés qu'on voit trop souvent dans les magasins d'animaux
2048
La guitare prend plusieurs tours et en plein milieu on y insère plusieurs bruits, klaxons fâchés, contre ce minimalisme de guitare qui est très rapide en débit. Klaxons et cris essayant de perçer l'arc-en-ciel, qui agit aussi en tant que percussion minimaliste continue
2049
Freins, grands klaxons d'alerte, d'alarme, qui hache l'arc-en-ciel en petits morceaux pour quelques moments, mais qui par la suite le réjoint dans un pseudorythme
2049
Pour être défait par un gros tir à l'arc qui dissout tout rythme. Retour de cris de klaxons, qui se diluent en petites respirations (applaudissements), qui sont un peu plus poussé (rires), et un roulement quasiblues qui poigne des spirales, des cercles avec des queues, des doubles cercles, entourés par l'ombrage électrique
2051
Et soft sur le sax et soft sur la guitare, un peu comme deux êtres solitaires qui sont dans la même pièce, rebondissment électrique donne place à des longs étirements de notes vocales, scratching autour de nouveaux spirales au sax intense, de grandes pousées de vent avec ronflement, paix et
2052
Hard fuzz sur la guitare, toujours avec des phrases qui spiralent, cette fois le sax s'insérant en cercles parallèles, et là c'est deux chats en chaleur qui se chassent, avant de se tranquiliser
2053
Jeu de main sur la guitare fait de petites pattes qui courent, et large sprint d'ensemble encadrées par petits bouts qui complètent les improvisations avec une ressemblence à un rythme
2054
Voici que Jean a poigné son air de mariachi (applaudissements) et René se satisfait de décorer avec un rythme simple, mais au deuxième volet, il commence à mettre des points d'exclamations à la fin des phrases
2055
Et on jette des cris à peu près et ça se calme, cette fois Jean doucement et René ambiant, mais Jean saute à un étirement de membres pour permettre à René aussi de stretcher
2056
Et triste descendante, très brève bien sur, un strum sur lequel Jean retourne au moitié-blues, et voici une variation sur son mariachi qui évolue très vite en forme de variation répétitive
2056
Et saut au refrain, cette fois hachée par des interruptions percussives sur l'électrique
2056
Et vite des tourbillions qui sont remplacés par cris excités par Jean et plusieurs coups de fuzz par René
2057
Une sorte de variante à ce point me fait penser à une vieille toune folklorique dont je reconnais pas le nom, conventionnel au début, matché par Jean après que René l'a établit, mais tout soudainement décomposé
2057
Et encore une autre variante, cette fois, où les notes sont séparées et tout rythme jetté au hasard
2058
Cris par Jean, complétition par René
2058
Variante avec beaucoup de backbeat de plus en plus vite, et je sais à ce point que c'est une chanson populaire qu'on va me dire le titre plus tard
2058
Rendu inconnaissable ici en poussant toutes notes vers leurs plus hautes octaves et vibrato sur la guitare, pour y terminer.
2059
(C'était-ti pas une pièce de La Bolduc?)
2059
Présentation de "Immense fatigue".
2100
Longues notes de guitares à très longue résonance. Oh, c'est le clavier. Sorry. Modification pour lui enlever une tonalité exacte, suivi par une séquence de bloups jettés arbitrairement, ensuite avec des tourbillions de cris polytonales, beaucoup de grincements de voix (c'est un échantillonneur?), plus haute sur la vibrato, grandes vagues électroniques et Jean ajoute une harmonisation (ou au moins il le tente) sur lequel René ajoute des brèves phrases très claires et très fortes, quelques octaves en haut des basses tonalités du synthé.
2103
Petites séquences intenses sur l'électrique, avec le synthé prenant plus l'allure d'un orgue à pompes, René qui parallèle ce rythme
2103
Jean ajoute une belle phrase mélodique sur le sax, René la copie, et ils s'unissent sur la même phrase, pour la distorter ensemble, tirant les syllables lentement, laissant beaucoup de traces, sur un nuage de ronflement électronique explorant le thème de la pièce qui est contemplatif
2105
Tranquillement toujours, le strumming de René étant placé doucement contre le sax, suivi par une séquence étendue de phrases électriques très amplifiées, mais lentes assez pour entendre l'orgue qui porte un certain hum à se faire entendre.
2105
L'orgue est devenue céleste électrique sur des warbles de la guitare qui sont tracées légèrement, l'orgue évolue et change sa forme en ascendant vers une plus haute tonalité, et René décore doucement, le tout faisant un nuage de son qui continue à bouger tranquillement
2107
Vibrato sur la guitare contre accords non-harmoniques sur le synth, mais voici le sax qui ralenti les vibrations de la guitare afin d'y donner un cool contemplatif. Les petits cercles dessinés sur la guitare sont très bas, et le sax est très clair, et on entend un peu le hum d'en arrière, Jean slow, très tranquillement explorant chaque phrase
2108
René change aux longues flèches, ou plut™t une très longue note pour terminé la pièce.
2109
Souflements dans une machine qui produit des sons semblables à cette patente qui sert à donner une ordre au MacDonald's sans se déplacer du char, suivi par des mots qui sont autant claires, René amplifie une fan dans sa bouche, donnant un rythme humain, et Jean prend son filtre pour y donner un son de singe minimaliste, suivi par enfant qui pleure à haute tonalité, quelques rapidscat par dessus vibrato sur fan par René
2111
Grondements de Jean repoussés par power chords sur la fuzz, matché par cris absurdistes par Jean, frénétique et déspéré, fuzz un peu partout sur la guitare, et tout soudainement un rock beat d'une machine à percussion donne quelques rythmes, pour tout de suite s'éteindre avec des des toutes petites ondes martenots que jean tient avec sa bouche
2112
Rythme de rottement, poussé et jetté, liquide matché par Jean, cris de kazoo contre kazoos électriques filtrées à travers de la guitare de René, et là c'est une série de singes que Jean fabrique par baloune
2113
Remplacé par un solo d'un appel à canards, dupliqué quasiment note par note par René, et pointilissme sur la guitare entourés par cris ecstatiques, insistence sur deux barres de rythmes, remplacées complètement par drum machine sur lequel le canard commence à chanter en rythme, et masqué par la guitare de rythme électrique
2114
Chant de chanteur d'opéra insulté, donnée solo par la guitare de rock, et calmement, on retourne au crachats de canards, sur lequel René jette des étirements sans tonalités
2115
Et un long cri soufflé permet de René d'insérer un rythme de country sur la guitare, mais Jean insère une mélodie de cirque (applaudissments, on semble reconnaître la pièce, et moi aussi), s'allongeant tranquillements vers le refrain sifflé très connu, le grand chant déclaratoire et la variation avec le sax, toujours avec René qui garde son rythme de guitare et à ce point c'est la fin du refrain qui me fait penser à du baroque pour je ne sais pas quelle raison
2117
Ainsi vient un solo de sax qui se distance du thème central, devient de plus en plus actionné, avec beaucoup de jeu de sabots de la part de René, qui a maintenant enlevé toute référence country de son style de guitare
2118
Jean se lève pour donner appui, le solo se termine brièvement pour quelques hachets où on insiste sur un point, pour tout se suite revenir à une variation sur le solo cette fois Jean séparant ses liaisons, petites insértions de vibrato, mais rapidement minimaliste
2119
Saut à la basse octave, hachets de guitare indiquant que ça vient proche à la fin
2119
Et voici qu'on se retrouve au refrain de "Avez-vous travaillé" décoré par l'orgue maintenant carnivalesque de René (il est à noter que l'auteur de cette pièce a déjà travaillé pour Emploi et Immigration pendant vingt semaines où sa job était de sortir les cartes de temps des enveloppes - 3000 par jour - afin de les classer, alors j'ai un attachement personnel à cette chanson), et on la chante avec beaucoup d'angoisse à la question 5 - oui, oui, oui, et c'est fini avec de longs sauts sur la guitares, pour se diluer dans une séquences de bleeps et bloops sur le synthé, phrases jetées hâtivement sur la guitare
2121
Et calme avec une guitare blues qui accompagne petit, tout petit sifflet, sifflets séparés (rires) et sifflets en accords unies, handclaps de la part du synthé, retour à l'orgue de cirque cette fois contrastée par une guitare plus amère, Jean qui ajoute un air vocal pour donner de la basse, et retour à la machine de percussion, toujours sans perdre l'orgue de cirque, qui en tour se dissout dans la guitare électrique dans un bref solo, et enfin guitare, machine de percussion et orgue se joignent dans le fuzzy solo de René, perc-org se ralentissant et la guitare faisant suite, vibrato de mitraillette sur la guitare matché par cris agonissantement hauts sur le synthé, qui s'onde un peu partout, Jean qui ajoute du sifflet par dessus ceci
2125
Et alors on se trouve dans un solo de sifflets qui perçent assez fort les oreilles, et c'est fini.
.2126
René parle de façon personnelle à la foule, et présente "Rêves et menteries".
2126
Tonalités douces sur la guitare ouvrent la pièce, au deuxième tour de la phrase initiale, Jean couvre le ton avec un décore et au troisième tour ils s'unissent pour en créer une variation, qui se calme
2127
Mais pas trop longtemps, où René y tire plusieurs lignes flamencos, et ce pont est laissé en arrière
2128
Pour une basse accéléré, là ou Jean s'allonge en chant plaintif, ensuite suivi par une vibrato étendue, reprise du thème, tout au-dessus de la basse de la guitare qui atteint un rythme continuel
2129
Petit arrêt pour présenter une deuxième variation, René toujours très rapide sur son flamenco en basse, mais Jean insère une vocale rauque, en descendant toujours l'accord, et son propre echo au sax, cette fois René ayant abandonné le vibrato initial pour donner vitesse en complétant les phrases jouées par Jean
2130
Tourbillions douces, sax remplacée par fléte, retour au flamenco, et arrêt pour séparer les paragraphes, insertion de drum machine, remplacement par mur de fuzz, et une variante qui place un sax très doux mais sans harmonisation facile par Jean, completé en petits accords a•gus sur la guitare par René et c'est fini. Grand applaudissements.
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