Claude Marc Bourget - C'est une belle journée

Catégorie : Piano solo

Critiques / Musiques de ballet


Making Beautiful Music With Just Two Hands
. “For me, playing the piano is black and white photography applied to music. It is the orchestra in equation. Everything is there, but at the principle level, behind the image, like roots under the flowers. I love black and white in photography. The piano with its black and white keys immediately gives the sign of its economy. In that sense, only the string quartet would approach it. The jazz trio too, belongs to this pure world. Other trinity, other mystery,”


« Musiques de Ballet is a phenomenal endeavor which gels multiple expressions, textures and dynamics that bend and reflect capriciously, and subsequently inject meaning into Bourget’s art. »


Pianist Claude Marc Bourget can orchestrate energizing symphonies with the nimble movements of his ten fingers across the keys of a grand piano.  The protégé of such arduous musicians as Chopin, Debussy, Stravinsky, Paul Bley, and Keith Jarrett, Bourget has a heart that is true to his passionate nature and a mind that exhibits a boundless imagination. (…) Like his predecessors, Claude Marc Bourget is not trapped into becoming a period pianist but a musician whose improvisations will be relevant for centuries to come.  His synthesis of jazz and classical music structures is inspiring and positions him to become a source of motivation for aspiring musicians to come.

Deux préludes polyphones (improvisations)

(23 janvier 2010). —  Deux improvisations du pianiste canadien Claude Marc Bourget, qui revisite à sa manière de libre jazzman l’esprit polyphonique prébaroque.
Two improvisations by the Canadian pianist Claude Marc Bourget, who plays, in his manner of free jazzman, the spirit polyphonic of pre-Baroque.

Taylor le pianiste (sur Cecil taylor)


Taylor le pianiste, par Claude Marc Bourget (pdf)


Musiques de ballet / Piano


Catalog number : AD004
Recorded in Françoys-Bernier Concert Hall Domaine Forget, Saint-Irénée, Canada.

Musiques de ballet / New Release 2010 (doc)

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.
Réédition en cours sur Bancamp (ci-dessous). Current reissue on Bancamp (see below).


Reford Gardens Suite ou 14 estampes dansées
The High Bank 1:34
Poppies of the Tsangpo 2:15
T he Exbury Azaleas 2:48
The Alpine to the Millstone 1:10
The Floral Terrace Between Rain and Sun 3:32
Blue Heron in the Pond 1:31
Belvedere on the Silver River 2:28
In Search of Gentians 1:54
Bathing Birds of the Night 4:19
Long Walk in the Royal Colors 3:28
The Crabapple Red Spring 2:38
Alone in the Stream Garden 1:27
Woodland Deepening 0:59
Supernatural Presence of the Primula 1:23

Sept entrées de ballet
Entrée à deux (homme et femme) 3:46
Entrée seul (homme) 1:10
Entrée seule (femme) 2:05
Entrée à deux (femme, enfant) 3:51
Entrée à deux (homme, enfant) 1:00
Entrée à trois (homme, femme, enfant) 2:48
Entrée seul (enfant) 0:57

À venir en réédition / To reissue :

España mística (y appostilla) 4:34

Passacailles étranges et tragiques
Première passacaille 1:44
Deuxième passacaille 1:38
Dernière passacaille 4:21

Naissance du cygne 2:55

Pas de deux 3:42

AFTER OFFERING us Second Time, Claude Marc Bourget is back with a second solo album, “Musiques de Ballet” (Ballet Music). Second Time, published under a New-York label in 2008, was quickly noticed by American and Italian Critics. Jazz review, Jazz Times, All About Jazz Italia have praised the work of Bourget. Susan Frances, from Jazz Review, wrote : “Bourget conveys deep emotions in his compositions allowing the notes to speak from his soul. He has a mind that sees music unlike anyone else’s. A virtuoso on the piano, but also as a masterful composer”.

Musiques de Ballet, a new CD from Bourget will most certainly receive equal praises, but, also, his style, his way, his themes, such as the theme from “Reford Gardens”, will reach a larger audience among music lovers. Recorded in the magnificent setting of Domaine Forget’s François Bernier Hall, this is new and fresh music, purely pianistic, with sounds of Paul Bley and Keith Jarrett, but also of Debussy, Stravisnky, Rachmaninov and Chopin. An irresistible weaving, with original colors and performance.

My Ballet Musics, says Bourget, even if they call and lead to dance, are not choreographic musics per say, or musics for dancing, but rather “dancing musics” of gesture inspiration: ballerina-pieces, in which rythms and scales dance and jump, towards an idea of Beauty. Besides, a little jazzy, a little classical, they are not Jazz, they are not Classical. Neither improvised, neither written, but recalled from a souvenir, recalled by the eye and the ear, my Ballet musics are synthesis musics. We are in the age of Synthesis, of the rolling echo of centuries, of the new look on the sound memories of time.”

« Mes musiques de ballet, bien qu’elles appellent et conduisent à la danse, ne sont pas des musiques chorégraphiques au sens premier, ou des musiques pour la danse, mais des musiques dansantes et d’inspiration gestuelle : des musiques-ballerines, dont toujours dansent et sautent, vers une idée de la Beauté, les cadences et les gammes. Par ailleurs, un peu jazzantes, un peu classiques, elles ne sont pas du jazz, elles ne sont pas du classique. Ni improvisées, ni écrites, mais rappelées par le souvenir, remémorées par l’œil et par l’ouïe, mes musiques de ballet sont des musiques de synthèse. Nous sommes à l’âge des synthèses, de l’écho roulant des siècles, du regard nouveau porté sur la mémoire sonore du temps ».


Critiques / Second Time


(…) Second Time, realizzato in perfetta solitudine su uno Steinway gran coda (suono magnifico!), si sviluppa infatti come un lungo racconto, come una lunga suite. Preceduta da un cappello introduttivo, la prima parte si muove lungo le coordinate « consuete » del piano solo in chiave jazz. Gli inevitabili echi jarrettiani, dunque. Ma assai più forte, in Bourget, è l’impronta del conterraneo Paul Bley. L’amore per la risoluzione inattesa, per il cambio d’umore che, nello spazio di una nota, ci porta da un gioioso maggiore ad una malinconia più intima.

Con lo scorrere delle tracce si insinuano qua e là, fino a diventare predominanti, gli echi classici. Non solo dal punto di vista compositivo (Brahms e Beethoven, cuore della seconda parte), ma anche da quello esecutivo. La mano sinistra, spesso trascurata dai pianisti jazz, svolge qui un lavoro enorme diventando a tratti la vera protagonista.  ⎯ Paolo Peviani


Bourget creates a balance between the deposits of rage and peacefulness in nature. His compositions channel the moods which guide nature’s course, and draws out its beauty even when confronted with its darker, brooding tirades. Second Time demonstrates Bourget’s agility as a pianist, and skillfulness to convey nature’s messages to audiences. He shows a desire for challenges, and a need to master them. ⎯ Susan Frances


« The intensity of the music and the quality of the recording pull you into the music, until you feel almost as if you are sitting alone in a concert hall. (…) No matter whether you are solo piano aficionado or not, Bourget’s sound is enthralling.  His technical and creative facilities alone are admirable, but the sheer intensity of his music is enough to draw the most callused listener in.  When so much music follows set forms of conformity and repeating phrases, it’s easy to get lost in the long, full themes that seem to never end.  I am not traditionally a fan of solo piano works, and I probably won’t go out and buy any right away, but this album will definitely have a spot in my listening library. » ⎯ Lorelei Clarke


“ Bourget’s compositions are strictly focused as well as free to soar as high as the creative imagination will allow and sink as low as the heart’s emotional abyss. Through the episodes of deep contemplation and mesmerizing flights, Bourget exhibits impressive maturity that causes people to stop in their tracks and listen to him. (…) His long stretches of wanderings wicked by the piano keys seem mysteriously guided, as even the moments of transgressions manage to stay on course like they are under a trance, which stops them from trailing away from their objective, and every track resounds with an objective in mind. (…) His album Second Time shows his skills as a virtuoso on the piano, but also as a masterful composer and arranger. At 52 years of age, Bourget does not seem to want to turn back time, but to move ahead with it, as Second Time embraces huge challenges and tests Bourget’s reflexes to move spontaneously along the changing tides.” ⎯ Susan Frances


« Bourget est un pianiste exigeant. Introspectif par moment, plus exubérant sur certains morceaux, il nous fait vivre toute une gamme d’émotions. Il faut se laisser envelopper par sa musique, dont l’émotion se dévoile par couches successives comme l’aube naissante révèle les détails qui nous entourent. La musique de Bourget est majestueuse, vecteur de tous les chagrins, joies et espoirs qui y transitent sereinement. » ⎯ Jazz Frisson).


Bourget “explore a mysterious and vast territory. A great gust of wind blowing the melodies against a wall of sound”. (Live Music Report) . / Read the full review byJessica Lombardi.

Second Time, Improvisation circle

新しいリリースでは、 月 2回目は、即興サイクル

Quebec Improvised Musics Society

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.

“Emotional, uninhibited,
and hauntingly beautiful.”

Susan Frances, Jazz Review

Second Time New release 2008 (pdf / 399 Ko)



Opening 1:40

Part I
Northern Restlessness     5:19
Interlude 1:02
Plays Of Winds 5:08
Dance Of The Large Bird 5:02
Secret Ice 4:27

Part II
Second Time 6:57
Lull In Ashes (Brahms) 4:00
Song Of Destiny (Beethoven) 3:14
Song Of Past  2:55
Tides Of Hopewell Rocks 2:48

Part III
Dripping Of Whiteness 3:36
Ungrund      5:08
River In The Air 3:51
Awakening Cycle 5:22
Coda 0:59

Rising Death (Adagio) 3:36


Critique / Festival de jazz de Montréal (Piano +) / 1983

Festival de jazz de Montréal / Piano solo Improvisations

Bibliothèque nationale, Canada, 1983

(Enregistrement perdu)

« Au programme, un récital de Claude Marc Bourget, pianiste improvisateur de 26 ans, qui ne va pas sans rappeler le style du pianiste américain Cecil Taylor. Sans jamais succomber à la tentation d’associer liberté et gratuité, Bourget s’est livré avec une rigueur remarquable. Une musique énergique, extrêmement dense, et d’une richesse harmonique peu commune. Autodidacte, Bourget étale des qualités techniques impressionnantes et témoigne d’un souffle créateur inépuisable.»

Pierre Boulet, Le soleil, 12 juillet 1983.