Claude Marc Bourget - C'est une belle journée

Catégorie : Presse

Critique et entretien / Les Amants de l’ombre

« Un moment de grâce »

«Six chansons qui demandent à être découvertes… avec mille et une tendresses». «Les amants de l’ombre, un disque sur lequel on retrouve six chansons qui demandent une attention, un moment de grâce lors de l’écoute. » Raymond Desmarteau, Radio-Canada International

Voir article complet sur Radio-Canada International.



Audio : Écoutez l’entretien de Bourget
avec Raymond Desmarteau sur l’album Les Amants de l’ombre.

Écoutez l’album. Disponibles sur toutes plates-formes numériques en tous pays,


CRITIQUE — Le Mystère Des Trois Jours from Claude Marc Bourget

Album Review: Le Mystère Des Trois Jours from Claude Marc Bourget
Christ’s Resurrection Set to Virtual Violins and Piano

Susan Frances, Yahoo Contributor Network
May 25, 2014
Le Mystère des Trois Jours (The Mystery of the Three Days) from Claude Marc Bourget is a 3-track CD that showcases Bourget’s prowess as a masterful pianist and programmer of virtual violins in addition to being an effective narrator. His compositions have an ambient coloring with choral-tinged passages that pervade a Gothic tint. Each composition represents a specific movement, telling the story of Christ’s resurrection through music. « Premier Jour » (First Day) symbolizes Christ’s death. « Deuxième Jour » (Second Day) reflects the transformation process. The last track « Troisième Jour » (Third Day) characterizes Christ’s resurrection. Inspired by the Biblical story, the music shows reverence for the miracle and provides sonic vignettes depicting the three stages of the evolution.
The compositions have a meditative-slant bringing together the orchestral tones of the violins and the chamber music-imbued resonance of the piano. Combined, the strings and keys culminate into a gospel hue reminiscent of Gregorian Chants, music which echoed from outside the walls of Gothic churches during the height of the Middle Ages. Bourget’s offering epitomizes the music of the Medieval Era implementing modern instruments and a contemporary view of the Biblical tale.
Notes move slow and subtly along « Premier Jour » reflecting the mournful mood over Christ’s death. The chord arrangements for the strings are dabbed gently at first then grow more intense and bold as the track progresses producing fluttering ringlets that float with angelic charisma. The composition describes the story of Christ’s death with thoughtful detailing and a consciousness of the grief-stricken scene. The second stage of the miracle « Deuxième Jour » resonates with choral tones scrolling a requiem of narrative strings that relate the part of the tale when Christ’s body transcends from the grave and rises up to heaven. The striking swells made by the strings evoke emotion in the listener as the graceful movements caress the ears. The natural and spontaneous flux of the strings expresses respect for the event. The final track « Troisième Jour » erupts with bright and elegant tones as the notes prance freely producing ambient soundscapes and choir-like atmospherics. The intensity in the sonic ruminations is moving and awakens sensations in the listener.
A profound storyteller, Claude Marc Bourget shows that his sonic vignettes can move audiences. The melodic descriptions shown on Le Mystère des Trois Jours join the keys and strings resounding traditional Gregorian-textured Chants with modern ambient tints and orchestra-tinged soundscapes. Produced by Metis Islands Music, Bourget’s offering demonstrates sensitivity and a reverence for the Biblical tale. Implementing the principles of artistic freedom, Bourget shows that he can craft moving stories through music and evoke emotion in the listener.


5/14/12   REVIEW
JAZZ TIMES, USA, by Susan Frances

NOVIAUS TANZ review (extract)

Classical pianist Claude Marc Bourget plays a new role on his latest recording Noviaus Tanz from Metis Islands Production as a programmer and arranger of the virtual violin and virtual double bass. Coupling electronic music with the acoustic ethers of cellist Pierre Alain Bouvrette and violinist Frederic Bednarz, Bourget creates elevating raptures and extemporaneous ripples that focus the mind and stimulate calmness through the soul.

The harmonies are melodically organized and arranged to flow with a natural elegance. Silky textured strings open “Ferments” coiled in winding cello rings. The verses roam with a vivacious spontaneity projecting orchestral arcs spruced by branches of improvisational sprigs. The broad, hushed strokes of “Cadences” alternate between light and heavy pressured notes while the crisp stride of “Signes” is garnished in ballerina-like twirls, lifts and jetes. The instruments transmute a lead and follow scheme which seduces the listener to move along with the established pattern.

Noviaus Tanz is innovative music with a dichotomy of electronic and acoustic sounds molding them into electrifying compositions. The improvised swags and curves add to the pieces majesty and allude to a sonic plane beyond the temporal world.

Critique / Pilgrim of the Strings ⎯ Chassé

06/08/12   REVIEW   
by Susan Frances


Pilgrim of the Strings, the new recording from acoustic guitarist Jean-Pierre Chassé is a lush embroidery of ambient soundscapes tooled in penetrating improvisations, protracting arpeggios and melodic fractals. The Montreal native teamed up with classical pianist Claude Marc Bourget who produced the recording while mixed and mastered by Jacques Laurin. A synthesis of flamenco, bossa nova and ambient jazz, Pilgrim of the Strings soars with a nimble imagination reflective of vintage Django Reinhardt and the melodic sensibilties of Paco.

The soft, angelic sonorous of « Passage To Europe » contrasts the rattling chords swagging « Lo Mas Importante es Vivir.» The elegant flamenco wings of « The Other Side of Eyes » move with a dancer’s instinct switching to the taut arpeggios of « Narmada Ka Pani » highlighting sizzling, erotic chord rotations which are embellished by Turkish accents. The gentle acoustic twirls and spinning riffs of « Pas a Pas » complement the whispery tendrils of « Ishindenshinun » ascending and descending along the melodic scale creating a storytelling voicing in the chord expressions creased by a Spanish flare. The graceful gait of the chord scheme along « Los Ultimos Pajaros » is propelled by sprinting chord patterns and sleek improvisations that retract and soar trajecting intermittantly. The bossa nova stylizing of « Atoll das Rocas » changes to a bop-inspired rhythm in « Bop’s Memories » reminiscent of the gypsy tones of Django Reinhardt and the bluesy entwines of Richard Hart.

Jean-Pierre Chassé is a one of kind guitarist. His sense of melodic phrasing and timing for penetrative improvisations puts him in the ilk of Paco. His tracks weave into each other without disruption moving with the ease of the Alps flowing across the borders of Frances, Switzerland and Italy. Motivated by passion, Pilgrim of the Strings gives definition to ambient jazz with comfy atmospherics that allude to evenings cruising along the Mediterranean. (JazzTimes) / Read the review by Susan Frances.


20/05/12   REVIEW, par Nicolas Pelletier


Trop souvent, les musiciens comme le guitariste Jean-Pierre Chassé passent inaperçus. La musique qu’ils émettent n’est simplement pas assez sexy, pas assez pop, pas assez prévisible pour que le grand public s’y intéresse. Les médias aussi, nous avons notre part de responsabilité dans ce manque de visibilité. Exposer des talents tels celui de Jean-Pierre Chassé ne « rapporte » pas autant qu’un (autre) potin sur une chanteuse R’n’b qui dévoile un peu plus de poitrine que le mois dernier.

Je vous invite ce matin à prendre une pause de tout cela et de prendre le temps d’apprécier la superbe musique de ce guitariste extraordinaire qu’est Jean-Pierre Chassé. Aussi habile dans un style classique contemporain que le flamenco ou le tango (Los mass importante es vivir), ce Montréalais de 56 ans n’a rien à envier aux Steve Howe (Yes) de ce monde. Son style varie entre jazz et classique et est teinté de plusieurs influences. On pourrait dire qu’il se cherche. On pourrait aussi dire qu’il se distingue.Alors qu’aujourd’hui, il est si facile de programmer des échantillonnages pour monter un groove accrocheur, on oublie trop vite qu’il doit exister des virtuoses instrumentaux pour créer des passages dignes d’être repris. Le nouveau disque de Chassé est bien plus que des passages, c’est un superbe recueil de neuf pièces instrumentales qui font vibrer la guitare classique de façon spectaculaire. Chassé peut jouer la carte de la virtuosité technique puis celui de la sensibilité dans le phrasé suivant. Comme tout grand musicien, Jean-Pierre Chassé sait laisser sonner chaque note. Il comprend le rôle de chacune: sur The Other Side of Eyes, la mélodie est en avant-plan, solide, alors que des fioritures passent leur chemin plus loin derrière, à un autre niveau.

Oui, vraiment, Jean-Pierre Chassé est un musicien d’un autre niveau. Les mélomanes ouverts aux styles musicaux les plus variés sauront le reconnaître dès les premiers instants.

(Blogue en musique) / Lire la critique par Nicolas Pelletier.


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.

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.

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.