Jazz evenings of this scale are extremely rare in the middle of winter. Especially when the two protagonists, oh joy, launch themselves into the void.
Marianne Trudel and Yannick Rieu are known in the battalion of the Orchester national de jazz de Montréal (ONJ) since they have already played on a few albums of the collective founded in 2012.
Marianne Trudel, 46, was over the moon when The Press met the two trench jazz prodigies a few days ago. We understand: on February 4, she received the Opus 2024 prize for best jazz concert for the solo one entitled Music and life.
Sourcesa composition in seven movements by the pianist, is on the menu.
“I worked like crazy on the arrangements! Find Jacques [Laurin, fondateur de l’ONJ] for this project, it’s special because we’re all in a bit different places at the moment, but the magic is still there,” rejoices the ex-teacher of Emie Roussel and Ariane Racicot, two pianist-composers who became Radio-Canada jazz revelations in 2014 and 2023 respectively.
Revisiting the work, created to order for the benefit of the Les Violons du Roy ensemble in 2016, makes it stand out.
“We only played it once, at the Palais Montcalm, in Quebec. At the beginning, Sources was designed for my Trifolia trio. » Étienne Lafrance on double bass, Tommy Crane on drums and Patrick Graham on percussion then joined Angèle Dubeau’s renowned string ensemble on stage; this time, the trio will lend themselves to the intrigue with the ECO Ensemble.
In the second part of the program, the tenor and soprano saxophonist Yannick Rieu, our jazz eminent of the wind tunnel, renowned in his early days for the power of his feverish flights à la John Coltrane and his controlled skids, will follow the contours both steep and caressing of Focus with its piping, a suite by Eddie Sauter composed expressly for tenor saxophonist Stan Getz (Verve label, 1961). A 45-minute odyssey in its original form.
Fuel the many projects
These programs of works for strings and rhythm section, where violins, violas and cellos intertwine and form a fabulous setting for more contemporary jazz music, seem a natural filiation. No less than 18 bow scholars will be at their side.
The unrepentant 64-year-old pioneer will also be flanked by this same sumptuous bed of strings, under the clairvoyant musical direction of conductor Jean-Nicolas Trottier.
For the record, Stan Getz had spent several years in Europe and wanted to return to the United States with a work [Focus] who was going to score. We will play a good part of it, certain movements, we are still determining the sequence.
Yannick Rieu
“But maybe we’ll do it all? », wonders Marianne Trudel out loud, she who is also participating in this second part. “That would surprise me,” replies Yannick Rieu, a little mockingly. And what are you going to play, the harp? », he adds, in a teasing tone. They laugh. “We are going to reproduce the harp scores on the piano,” the mistress of ivory and ebony notes responds straight away. “ Focus is difficult music for the strings,” recognizes the jazzman.
“I’m not trying to reproduce every note,” says Yannick Rieu, “moreover the conditions are not the same as those of Stan Getz, all the string tracks were already recorded at the time of his studio session. He was able to edit his solo and adapt it, rework it if necessary. We are going to improvise more. The sound and approach are different. »
“That’s the essence of jazz, having your own personality, your energy,” adds Marianne Trudel rightly. It would be ridiculous if Yannick tried to reproduce the sound of Stan Getz. The goal is to bring something new. »
“It’s always an adventure”
In residence for several weeks in Morocco, Cameroon and Togo last year, our man obviously experienced the clash of cultures of the musicians he met during his stay.
Even if we move from one project to another, there is a routine, but it’s never the same. My daily life is always different, it’s always an adventure. We listen, we observe what is happening, then we insert ourselves into the music. Our job is first and foremost flexibility. What has changed the most in my life as a musician is the multiplication of projects.
Yannick Rieu
“This eternal renewal of things is the reason why I love jazz,” admits Marianne Trudel. In show or in the studio, it can never be the same from one time to the next. It’s like the days, like the weather, like the wind. I thrive on the many projects; I have already approached two agents to do my booking – otherwise, it goes out of my mind – and they told me in the negative, saying that I have too many! »
“We don’t know where to place you, we don’t know what you do,” adds Yannick Rieu, having experienced a similar situation. We are simply humans who make music. »
Yannick Rieu and Marianne Trudel with the ECO String Ensemble, February 17 at the Cinquième Salle at Place des Arts