That was without counting the times I provided elsewhere in the capital. One can think of his time as recently as 2019 at the Mile Ex End Festival, or the very distant period when he joined the U2 members at the Olympic Stadium in 1992.
But Daniel Lanois who topped the festival scene at FIJM Thursday night was first. I select “Headline” since Lanoa joined Paul Simon’s outdoor concert during the festival in 2006. But the song, and the full concert, are not the same thing. We will not be chatty, and above all, we will not sleep on our happiness. And fun, we had it, with Lannoy doing a trio, in the company of guitarist Jim Wilson—who was with him in 2019—and drummer Kyle Crane.
It wasn’t for granted, I said to myself, that I saw the three guys start their performance with a very nice vocal dubbing from the album. Acadian (1989), i.e. bilingual under a stormy sky And beautiful louise.
A nice start that gave us time to appreciate Lanoa’s ingenuity and his dark ensemble full of wit. Who knows? Maybe there was a concept, because the next song was from shine (2003). And shooting, the song in question, was well rendered by guitar whose tunes were on the rise.
Lannoise and his colleagues continued in the same vein, sharpening the intensity, drawing for a long time exclusively in the repertoire.Acadian Based on shine. the creator And I I love you, straight receipt, hit hard in the heart and soul. for slow giving, it looked straight out of Neil Young and Crazy Horse’s drawers, it was heavy and jarring.
Lanoa certainly isn’t the loudest guitarist, but his performances are penetrating and penetrating. It is as sharp as possible and penetrates the pores. Even after a long absence from the boards.
Lanoa noted that there are a lot of pretty faces, not very talkative, but with a smile that does not lie. This is our first concert in two years.
It didn’t show if we were relying exclusively on the touch and skill of the guitarist who will turn 70 on Sunday. The Hull-born musician has spent part of his life in Quebec, Western Canada and the Republic of Ireland in Dublin. And by remembering this course he gave fall on your feet.
It’s a song I wrote for my good friend Bono.
And we were treated to a very beautiful version of the song that was part of the Wim Wenders movie soundtrack, Million Dollar Hotel, in 2000.
The last calm before the decibel storm, at last The power of the peopleAnd opera And golden dream, where Lanois rooted out all possible sounds from a robotic console: the ending turned out to be as devastating as the opening was quiet and serene, 75 minutes before.
Two years without a scene? Obviously, Daniel Lanoa hasn’t lost his hand.
Party with Tiki :: Teke
The Japanese-influenced Teke::Teke collective in Montreal performed a reversal of Daniel Lanoise, half an hour before him, on the symphonic floor. He really set his foot from the start.
Warning: Although I spent ten days in Tokyo in December 2019, I don’t need to name any song titles, because I have no idea what they mean… However, the band at Maya Kurodi remains as alluring as it is unpredictable. Like never.
Masks, oriental costumes, and background music seemingly composed for a 1950 Japanese movie: The entrance was stunning. Hence, who can give us transverse solos flute on a background of funk music?
Who can incorporate impulses from rock guitars (Hidetaka Yoneyama, Serge Nakauchi Pelletier), trombone (Etienne Lebel), transverse flute (Yuki Isami), and baby (Kurodi) into songs that would have been composed in 1963 or in 2021?
I only saw about twenty minutes–overlap at parties–but no one got bored.
L ‘Omerta by Michel Coson
Are you a fan of the TV series? distracts 31? Are you saying that during the ’90s, distracts 31 was for the name Omerta. Moreover, the first major innovation by Luc Dionne.
It’s the music he heard and was inspired by this confessional TV series that guitarist Michel Coson came to introduce to the Symphony Hall. From the first bars, festival-goers learned about the theme of the series, which is based on soaring music, penetrating guitar and trumpets modeled on Miles Davis.
I feel like a thousand years have passed since I saw the worldAfter these appetizers, Michel Causson launched after these appetizers, explaining that he and Oliver Vanas (double voice), Dan Thwain (keyboards), Benoit Glazer (trumpet) and his old friend of Osip, Paul Brochu (drums), would propose a selection from among 19 hours of Music.
Fascinated by funk-inspired music and cinematic compositions that we almost saw classic scenes with Michel Coti and Romano Orzari, the experience was decisive.
25 years of François Borassa Quartet
Beginning the evening at the Place des Festivals, François Borassa emphasized the quartet’s 25-year career. From the start, the pianist and his colleagues set the tone for the performance over 45 minutes with a piece called 15th, Mrs. Lorettesaid the leader.
It begins in the form of piano-saxophone dialogue (André Leroux) to follow the same type of speech, but this time, between piano and double bass (Guy Boisvert) before everything collides with Borasa’s style of course.
whirlpoolOn the contrary, it was clearly marked by commas rather than continuous with occasional sudden changes in tone. A sequence with a new combination where Leroux went there with an elk with his transverse flute. It started gently, and quickly turned into one of the most adventurous compositions I’ve heard on the outdoor stage from FIJM in a long time.
Finally, The blues Masqué has shown that Bourassa, even after 25 years, never rests on her laurels.
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