Flying Joes – “Let It Out” Tour

May 12 @ Petit Campus, Montreal @ 8pm

with Chris Colepaugh as the opening act

Flying Joes - Tournée «Let It Out»

12 Mai @ Petit Campus, Montréal @ 20h00
avec Chris Colepaugh en première partie

Hailing from New Brunswick, guitar virtuoso Chris Colepaugh ignited the stage with a Southern rock’n’roll that was a cross between ZZ Top and Credence Clearwater Revival, clearly inspired by Neil Young (one of his tunes was covered as a tribute) with a dash of Genesis (a guitar-laden, hard-edged drum rhythm cover of ‘I Know What I Like’). Chris Colepaugh was adeptly supported by Lynn Colepaugh on rhythm guitar and Quintal on drums. 

The Flying Joes is a Montreal-based power rock trio. They were formed in 2014 by Syd Bedard (bass and lead vocals) and Jean-François Arsenault (guitar). The two had previously fronted the Art rock group Jelly Fiche which released two CDs – ‘Tout ce que j’ai Révé (2008) and ‘Symbiose (2011).’ I had seen their show at the Festival de Musique Progressif de Montréal in 2009. With the Flying Joes, Syd and J.F. have completely abandoned Art rock in favor of a hard-driving rock’n’roll that is inspired by an authentic blues sensitivity. Their songs are lyrically poetic with an energetic and festive mood. The riffs, though original, are very familiar that recall those of classic rock bands of the 1970s – Led Zeppelin, The Doors, Cream, Status Quo, Ted Nugent and much more.

Both bands performed original compositions that were solidly anchored in the classic power rock of the 1970s with a strong appeal to today’s youth. There was definitely no generation gap here.

Originaire du Nouveau-Brunswick, le guitariste virtuose Chris Colepaugh a enflammé la scène avec un rock'n'roll australe qui était un croisement entre ZZ Top et Credence Clearwater Revival, clairement inspiré par Neil Young (l'un de ses chansons était couvert en hommage) avec un pincée de Genesis (un  interprétation chargé de guitare et un rythme percussive hard-edged  de «I Know What I Like »). Chris Colepaugh a été soutenu adroitement par Lynn Colepaugh à la guitare rythmique et Quintal à la batterie.

The Flying Joes est un trio power-rock basee à Montréal. Ils ont été formés en 2014 par Syd Bedard (basse et chant) et Jean-François Arsenault (guitare). Les deux avaient déjà formé le groupe de Art rock Jelly Fiche, qui ont sortie deux CD – 'Tout Ce que j'ai Rêvé (2008) et «Symbiose (2011). » Je les ait vu leur spectacle au Festival de Musique Progressif de Montréal en 2009. Avec les Flying Joes, Syd et J.F. ont complètement abandonné Art Rock en faveur d'un rock intensive qui est inspiré par une sensibilité blues authentique. Leurs chansons sont lyriquement poétiques avec une humeur énergique et festive. Les riffs, bien qu’ils étaient originale, sont très familiers qui rappellent ceux des groupes rock classiques des années 1970 – Led Zeppelin, The Doors, Cream, Status Quo, Ted Nugent et bien plus encore.
Les deux groupes ont interpréter des compositions originales qui sont solidement ancrées dans le classique power rock des années 1970 avec un charme fort pour les jeunes d'aujourd'hui. Il n’y avait certainement pas d'écart de génération ici.

Pompeii’s Vitality and Tragedy Unearthed in Atmospheric Exhibit

at Montreal Museum of Fine Arts

reviewed by Nancy Snipper

Vesuvius leaves its lasting legacy

 On August 25^th, 79 A.D. Mount Vesuvius erupted, (Pliny the Younger states two different  dates), the thriving port city of one of Italy’s most prosperous of Roman towns suffered an irreversible catastrophe, and along with this cultural mecca, Herculean and Stabiae.

The exhibit sets the tone immediately. Before entering the first of nine rooms, a black and white still in a projected image of the summit has its moving element; spewing smoke appears. A far more dramatic display of events reiterates this scene on a large scale that clocks in the four eruptions over a 24-hour period – the last of which is the final Tsunami-like covering of the entire town. This film, with some sound effects, mesmerizes viewers; and most would only recall this as the story of Pompeii, had not the other eight rooms brought to life the exuberant daily life and artistic zenith of the town and its inhabitants.  

How clever that the exhibit builds up the bustling, dynamic reality that resonated within Pompeii’s walls! Its houses, shops, outdoor theatres, markets and more are brought to life; there are even background sounds that vividly enhance the visual aspects in the 220 artifacts that viewers can appreciate as they travel back in time.

Historical information is outlined regarding Roman rule and Pompeii’s subsequent uprising against the colonizing yoke that failed. An earthquake in 62 A.D. did nothing to shake the spirited people of Pompeii; it took 17 years to rebuild most of their beloved town. Little did they suspect nor surmise what would soon ensue.

One of the most telling examples of the people was the amazing amount of bakeries – 40 in all – that sprung up everywhere. Some houses even sold bread from the open door. Paintings depict this aspect of food, but ominously displayed near portable kilns, stoves, cooking utensils and more is a half-round loaf of carbonized bread.

Weights in iron and brass, oil lamps, coins dating from 41 to 70 A.D. are on display. Gold, silver and brass constitute their material. Carpenter tools fascinate as do the plumbing outlet faucets and more. Aged with patina, I thought these were remarkably telling of the city’s sophistication in taking care of hygiene and water.

I saw vintage raw axe heads, rusted nails and strange vertical measuring instruments. Amidst the major statues in marble found in various indoor gardens, tables and ornaments in glass, I beheld a dozen pieces of gold jewelry that dazzled in design, brightness and colour.

The four distinct stages of painting, including the masonry technique and trempe d’oeil, a plethora of wall panels and paintings and many scenes in relief along with tiny lares – gods in bronze housed on a shelf as protectors. Details in their art astound; they are priceless pieces of antiquity.

Tessserae – mosaic pieces that are assembled in figurative art, even a strigil, gladiator armour used in battle and more converge to show the diverse activities that travel the gamut from art to fighting – even dice games.

I was not persuaded that each piece was the original – especially in the perfectly smooth totally intact marble pieces, along with the frescoes that were obviously repaired; they were in too good condition to accept as untouched by restorers – all which should have been clarified in writing on the relevant plaque – along with the dates and provenance of many items were lacking. The audio guide surely explained more about each piece, but gallery exhibits usually provide vital written information to the viewer.

Finally, the second last room showed a film and several figures cast in positions of their last breath was unforgettably moving. Thanks to Giuseppe Fiorelli who carefully retrieved many of the dead, pulverized in ash and pumice, 1000 bodies of the 20,000 once very alive inhabitants have been recovered. He was able to get them out using a specific technique, employing casting, the human tragedy lives before our eyes. Overall, this exhibit is appealing, yet I would have liked more explanations of the making of a fresco and the repairing of so many pieces in the lab overseen by Professor Stefano Vanacore, director of the restoration.

View slideshow:

“Pompeii” continues until September 5^th, 2016.

The Montreal Museum of Fine Arts is located at 1380 Rue Sherbrooke O, Montréal, QC H3G 1J5

Phone:(514) 285-2000

The website is: http://mmfapompeii.com/

Bon Cop Bad Cop 2 - They’re Back!

Photo credit: Nancy Snipper

 

by Nancy Snipper

It’s been 10 years since we met the odd couple of cops, and nine years in the script conception on the part of the bad cop of the duo – Patrick Huard who is also one of the producers along with François Flamand and Pierre Even (Item 7) with Seville as the distributor.

Photo credit: Nancy Snipper

I had the rare chance to speak to the Alain DesRochers, the director of the movie which starts shooting May 22 and is slated to come out summer   2017. Hailing from Ottawa, he told me he is a real Canadian, and loves the idea of breaking down language barriers through the two cops reunited, bringing Montreal and Toronto together – the Anglo and Québécois guys – true buddies who no longer butt heads. Fresh eyes surely will enrich the vitality of the film, though the two protagonists are ten years older. Indeed, no novice to the craft, DesRochers has earned his own badge, having directed Nitro, Nitro Rush and Musée Eden. Always humble DesRochers said, “It’s an honour to direct these two great actors.”

He also revealed it was a challenge to do a comedic action film while ensuring to highlight the serious and sinister elements – to keep them strong and raw.

Producer François Flamand – and co-producer Pierre Even concurred –highlighted that the main raison d’être of reuniting the pair of unlikely but awfully likeable cops: “Everyone wanted to see them again. And this time, it is going to big much bigger in scope than the first film.”

Once again, the bilingual film with subtitles in both languages (Pierre Even highlighted that the first one set a precedent for subtitling this way), stars Colm Feore as Martin Ward – the bon (good) cop and Patrick Huard as David Bouchard – the bad cop. This action thriller is sure to be another blockbuster (the greatest audience success of any Canadian film marked the first one – directed by Eric Canuel. I can hardly wait to see it!

(The press conference for Bon Cop Bad Cop 2 was held at Restaurant Le Richmond in Montreal on May 9^th, 2016).  

 

The world premiere of Jean-Nicolas Trottier’s The Mystic Mind Suite

 

Le première mondiale de la Suite Mystic Mind de  Jean-Nicolas Trottier

Orchestre National de Jazz Montréal – May 7 Mai 2016 @ L’Astrale

Conductor / Direction: Jean-Nicolas Trottier

Guest Artists / Artistes Invités:

Yannick Rieu (saxophones / saxophones), Rafael Zaldivar (Part 2 only / 2ème partie seulement piano / piano), Sylvain Provost (Part 2 only / 2ème partie seulement; guitars / guitares)

Woodwinds / Bois:

Jean-Pierre Zanella, Samuel Blais, André Leroux, Frank Lozano, Alexandre Côté

Trumpets / Trompettes:

Jocelyn Couture, Aron Doyle, David Carbonneau, Bill Mahar, Andy King

Trombones / Trombones
Dave Grott, Taylor Donaldson, David Martin, Bob Ellis

French Horn / Cor Français: Jocelyn Veilleux, Laurence Latreille-Gagne

Tuba / Tuba: Jean-Sebastien Vachon

Double Bass / Contrebasse: Rémi-Jean LeBlanc

Drums / Batterie: Kevin Warren

Program / Programme

Part 1 / 1ère partie: 

A tribute to Gil Evans (Born 1912 in Toronto; died 1988 in Cuernavaca, Mexico). The first four pieces are from his first collaboration with Miles Davis – the 1957 big band album Miles Ahead. Davis’s solos on trumpet were aptly transcribed for Rieu’s saxophones.

Un hommage à Gil Evans (Né 1912 à Toronto, décédé 1988 à Cuernavaca, Mexique). Les quatre premières pièces sont issus de Miles Ahead (sortie en 1957) sa première collaboration avec Miles Davis –l’album de big band. Les solos de Davis à la trompette ont été convenablement transcrites pour les saxophones de Rieu.

Springsville John Carisi, arr. Gil Evans; My Ship Ira Gershwin/Kurt Weill, arr. Gil Evans; Miles Ahead Miles Davis / Gil Evans; Blues for Pablo Gil Evans; Summertime George Gershwin, arr. Gil Evans

Summertime was originally recorded on Davis’s 1959 album Porgy and Bess. This was surely the highlight of the first part. The central core consisted of rousing solos by Bill Mahar, Samuel Blais and Yannick Rieu with solid backing from Rémi-Jean and Kevin.

Entracte

Part 2 / 2ème partie:

The Mystic Mind Suite Jean-Nicolas Trottier

CONCEPT: The Mystic Mind Suite's orchestral arrangement evolves as a sound pattern (an idea, a word, an image) travels through billions of synapses in our winding thoughts. The concept behind this piece is very similar to Electronic Meditation, Tangerine Dream’s first album. Both explore sound patterns as they journey through the synapses of a brain. TD explores through the use of electronics whereas Trottier does so through the big band and the sonic sounds of Sylvain Provost’s electric guitar, Zaldivar’s piano and Rieu’s saxophones. TD explores the ‘emotional’ effects of a brain that is on fire; Trottier explores the effects on one’s memory. Mystic Mind is a very complex piece that spans a wide range of sounds and textures. The piece was superblyl arranged and well played.

Le CONCEPT: L’arrangement orchestral de la suite The Mystic Mind évolue quand un motif sonore (une idée, un mot, une image) se déplace à travers des milliards de synapses dans nos pensées sinueuses. Le concept derrière cette pièce est très similaire à Electronic Meditation, le premier album de Tangerine Dream. Les deux explorer des motifs sonores comme ils voyagent à travers les synapses d'un cerveau. TD explore à travers l'utilisation d’instruments électronique alors que Trottier le fait à travers d’un big band et les sons sonores de la guitare électrique de Sylvain Provost, le piano de Zaldivar et les saxophones de Rieu. TD explore les effets «émotionnels» d'un cerveau qui brule; Trottier l’explore les effets sur la mémoire de l'un. Mystic Mind est une pièce très complexe qui traverse un large éventail de sons et de textures.  La pièce a été superbement arrangée et interprété avec virtuosité.