Comme les jazzmen qui se sont transmis leurs racines (le blues et le gospel) de génération en génération, Adrien Varachaud, saxophoniste français, s'est inscrit dans cette grande tradition forgée auprès de fameux musiciens noirs, souvent beaucoup plus âgés que lui et qui forment une grande famille dans laquelle il a été reçu. Il s'est totalement imprégné du son et de l'âme (soul) de la culture afro-américaine, une expérience et une situation rare ; une formidable aventure pour un musicien de sa génération. Parmi ces musiciens, quelques-uns se sont réunis en studio il y a quelques mois pour enregistrer un disque ensemble et concrétiser cette amitié commune : Kirk Lightsey, rencontré en 2007 et avec qui Adrien va jouer souvent, puis Darryl Hall qui s'est fait une belle place au sein du milieu musical français, et enfin Famoudou Don Moye, le fameux percussionniste de l'Art Ensemble of Chicago… sans oublier Archie Shepp qui prête ici sa voix. Et Dieu sait s’il chante bien !

Saxophone trio records present a lot of challenges for a bass player. Your sound, intonation, time feel, and command of harmony are all perfectly exposed. However, in Joachim’s case, these challenges are handled with ease and instead showcase how much he excels in those areas. The depth of his sound is the first thing that hits you. The sonic space that might otherwise be occupied by a piano is compensated for by the rich quality and deep fundamental tone of each bass note. These qualities keep you engaged throughout the entire record despite the sparse orchestration.

Collaboration is probably the best way for a musician to improve or discover something new. Doesn't matter, collaborations with musicians or artists of another art form – the more the better. Needless to say, most of the artists understand this concept but the key is not to forget its importance in your daily life. Two friends – Donatas Petreikis and Karolis Šarkus– decided to collaborate. These musicians know each other for many years and spent countless hours on listening to records together, discussions and writing songs. Most of it would usually end up staying inside the studio but this time it was different. They have put all of their ideas with music on paper and out of love for jazz music “Collaborative Jazz Septet”.

This project, born in 2022, is driven by the longing for a continuously working band that collectively develops musical ideas from improvised sessions. Some music needs lyrics and so in addition to the instrumentals there are also songs in which the voices of Hofer and Busch combine to create a modern indie pop sound. In addition to the sound of the trio with electric guitar, electric bass and drums, the MPC (Akai's well-known sample player, which is often used in rap/hip hop and electronic music) is added from time to time as a fourth voice. This urban electronic element complements and completes the sound of the trio, which has its roots in improvised music and pop.

Founded in 1998, Ensemble SuperMusique (ESM) is directed by Joane Hétu and Danielle Palardy Roger. This variable geometry formation entirely dedicated to the interpretation of current music and improvisation is among the rare ensembles whose repertoire is exclusively made up of works of current music. The ESM is made up of the most prominent instrumentalists and composers of Montreal’s vibrant current music scene. Since its founding, the ESM has commissioned more than 50 works that combine written music and improvisation.

Under the artistic direction of Joane Hétu, this concert features a wind quintet (flute, clarinet, saxophones and trombone), a disparate ensemble of electric or synthetic instruments (synthesizers, oscillators, samplers and rigged percussion) and members of the Joker Choir, who come together to present four creations evoking the scattered pieces of our pandemic moods.

Steve Lacy’s reputation as jazz’s quintessential soprano saxophone specialist often obscures his singular commitment to composing songs on others’ texts. A pinnacle of this work is Packet, Lacy’s 1995 suite on poems by Judith Malina. Montreal’s Susanna Hood is one of the finest interpreters of Lacy’s vocal works, and, alongside pianist Tania Gill and soprano player Kayla Milmine, delivers Malina’s emotional, expressly feminist texts with precision, nuance, and elan. What makes unPacked special, however, are Hood’s riveting dance improvisations; as an improviser across dance and music, she is without peer.

Parallel Dreams captures harpist/vocalist Loreena McKennitt at her absolute finest. Fully immersed in the Celtic style, this London, Ontario, performer's voice is lush and layered in warm harmonies, soaring overtop equally beautiful instrumentation. Flowing between traditional ("Annachie Gordon") and original ("Dickens' Dublin") fare, McKennitt slows down time and relaxes furrowed brows on this disc by staying true to her red-headed roots. Subsequent discs tend to experiment more with tangos and uptempo melodies; Parallel Dreams, however, is one long, luscious lullaby.