improvisation

 

 

SOLO/////////////////// ////////////

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Éric Normand (basse et électronique)

Sa pratique de l‘improvisation implique une basse électrique (ténor ?) de sa fabrication, parée de micros et objets et couplée à quelques dispositifs électroniques également construits à la maison. Avec cet outil, il propose un langage instrumental singulier fait d’influx électriques et de vibrations qui s’emballent mais sont interrompus par le geste instrumental. Une sorte de combat entre le son et l’instrumentiste qui cherche à le dompter.

Il aime les rencontres avec d’autres improvisateurs.

« one of Canada’s most creative musical visions. » Stuart Brommer, TheWholenote

As an improviser, he develop a personal and radical playing on a homemade electric bass equipped with mics and objects feedbacking and vibrating in small electronic devices, creating electric flux interrupted by the instrumental gesture.

He love encounter with other improvisers
SOME BANDS :
 NOT THE MUSIC///////////////////// bruistime de chambre

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CD « DO », Tour de Bras, 2015

Philippe Lauzier (clarinette basse, saxophone soprano)

Éric Normand (basse, caisse claire)

bruits doux et linéarité rompue, le duo de P et E propose un environnement sonore contemplatif, mais toujours au bord du gouffre, domptant les monstres de la rugosité. Ils explorent les chants cachés de leurs instruments et font glisser les ongles sur un tableau d’ardoise sans faire frotter les dents.

With their gentle noise and cracked linearity, the duo of Philippe Lauzier and Éric Normand enact a sound environment that is contemplative yet stands on the edge of the precipice; an environment in which the monsters of rough texture are tamed. Calling forth hidden lyricism from their instruments, Messrs. Lauzier and Normand scrape their fingernails across the proverbial blackboard to exquisite effect.

PLANT//////////////////bruitisme de chambre

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Jim Denley (flûte, saxophone alto)

Éric Normand (basse, caisse claire)

LP « Plant », Smeraldina Rima (Belgique), 2016

 

Normally a music group’s recorded output is a tip of an iceberg – most of the music played goes undocumented.

Eric Normand and Jim Denley first played together on the 25th of May 2010 in Rimourski, Quebec, a recording of the music that night became the CD ‘Transition De Phase’The next time was also in Rimourski – once again at the Coop Paradis. A recording of that music will become the LP, ‘Plant’.

So far, all the music they have played together, (apart from a sound check), will become audio objects, this is an unusual situation, that says something about the world we live in now.

The two musicians live 1100 Km s apart separated by more than the Pacific, (their native tongues are different), but they are involved in a music practice that allows them to come together, without rehearsal and shared experience, to collectively create. This is true ‘world music’.

We’ve all heard the cliché that ‘music is a universal language’, but in the past musicians have had to learn each others systems – the sounds, scales, harmonies, rhythms and structures – to create cohesively together.

But Jim and Erics’ ‘world music’ is not about learning each others music systems and rehearsing to create co-ordinated expected outcomes – it is rather, about the acceptance and co-existence of the Other. There is no ‘compromise’ in this coming together, each musician is able to be himself, with local influences undiluted, but with enough shared methodology to work in parallel.

 

TORCHE ! duo //////////////////bruitisme de chambre

Xavier Charles (clarinette)

Éric Normand (basse, caisse claire, objets)

TORCHE ! quintet

Torche (32)

Xavier Charles (clarinette)

Franz Hautzinger (trompette)

Philippe Lauzier (clarinette basse)

Michel F Côté (percussions,  électroniques)

Éric Normand (basse, caisse claire, objets)

Torche ! Étincelles sonnantes. La fusion des métaux est obtenue par l’énergie calorifique dégagée par un arc électrique (l’improvisation ?) qui éclate dans une atmosphère de protection entre un fil électrode fusible et les pièces à assembler. Pour créer l’alliage des matières brutes, il faudra que ça chauffe davantage que le clavier bien tempéré.

Torche! Sparkling soundings. Melting of metals is obtained by the heat energy released by an electric arc (improvisation?) that erupts in an atmosphere of protection between a consumable electrode and the parts to be assembled. Making raw materials alloys will require it heats more then the Well-Tempered Clavier

BOULE-SPIEL////////////////////////////////

 

Magda Mayas (piano)

Pierre-Yves Martel (viola da gamba, électroniques)

Éric Normand (basse électrique, objets)

ALBUMweb on Bruitcollage (Colombie)