Mille Bayous

Digital album / PAN 055

Includes download in MP3 format.
  • 1. Introduction: Creole Rhizome
  • 2. Scary Forest
  • 3. Devenir-intense, devenir-animal
  • 4. Devenir-imperceptible
  • 5. Bop Hunters
  • 6. Bad Jazz Dualism
  • 7. Arbre et R
  • 8. From F to P (part 1)
  • 9. From F to P (part 2)
  • 10. Holy S
  • 11. Les Méfaits de l’arbre

Mille Bayous is the latest offering from the collaborative team of Horvey, Goldschneider and Morton. Their work references free jazz traditions and mistakes, contemporary/experimental composition, and other modes of improvised and found music to create an actuelle-folk-electroacoustic sound. It is cute, patient, noisy, brash, cheeky, epic, and proficient. Mille Bayous is their first release, although some of their work has also appeared on two solo albums by Amy Horvey, as well as in numerous live performances in Montréal, Stratford, across Saskatchewan, and other locations in Canada.

All material performed live at Moose Mountain Pottery, SK in December 2009
Edited and mastered by Goldschneider, Horvey, and Morton in Montréal, QC, March 2010

Amy Horvey: trumpet, water, bowl, contact microphone, piano, percussion
Isak Goldschneider: clarinet, electric organ, motor-magnet guitar, piano, percussion
Jeff Morton: microphones, percussion, brass objects, motor-magnet guitar, electric organ, piano

“Not all European free improvised music is European. Some is Canadian. Take the Saskatchewan-based efforts of Isak Goldschneider, Amy Horvey, and Jeff Morton, as captured on their recent free release, Mille Bayous. That’s “free” both ways: downloadable and improvised. The list of instruments involved hints at the potential cacophony, but not at the near stasis that the trio revels in for much of the recording. Cacophony does rear is carnival-esque head, on the closing “Les Méfaits de l’arbre,” at the end of which Horvey is heard to say, “Oh, whatever.” But the placement and the candid comment suggest it as an outtake, a blooper-real snippet, the noise against which the rest of the album’s intense quietude can be judged. Instead, gauge the musicians’ fierce simpatico from the earthen textures of “Scary Forest,” in which breathy, salivating woodwind lends a backdrop to light metallic gestural figurations, or the opening track, “Introduction: Creole Rhizome,” with its mix of brittle drone and kazoo-like effervescence, or “Bop Hunters,” in which nanoscale sawing plays against a rattly mechanism. It’s tempting to read the album’s title as a rural response to the Mille Plateaux aesthetic, a (mostly) analog microsonic counterpoint to the once ubiquitous digital ephemeralism.”
Marc Weidenbaum, Disquiet

  • Date available: 2011-03-30


Jeff Morton