DISCOGRAPHY
FREQUENCE 119 AB003 ARTE BOREAL RECORDS
august 2018
1 LE CAMBRIGOR
2 INSERTION
3 CONSTANCE
4 REQUIEM POUR COLETTE
5 VIA
Gilles Bernard - piano
Pierre Coté - contrebasse
Thiago Ferté - saxophone ténor
Louis-Vincent Hamel - batterie
All compositions by
Gilles Bernard
Ranked #3 among the top 5 jazz albums of the year 2018 by :
Recorded at Studio de l'Ours
Sorties JAZZ nights.com June 7, 2018
by Christophe Rodriguez
Jazz doesn't only happen in Montreal. Pianists and blowers are also doing it in Quebec City, such as all-around nice guy pianist Gilles Bernard. On this Fréquence 119, the blue note is powerful and creative with this together and efficient quartet. Surrounding Gilles we find bassist Pierre Côté, drummer Louis-Vincent Hamel and tenor saxophonist Thiago Ferté, a discovery for yours truly. Highlighting the work of these fine musicians, pianist Gilles Bernard has created a confortable space on five pieces, all equally inventive.
More than the art of the trio, this is a ménage à quatre statement, with a powerful saxophonist that reminds me in his approach of our friend André Leroux. At the heart of this new release, pianist Gilles Bernard who injects a lot of energy, with a multisensory approach that reminds me of Phineas Newborn as well as Jaki Byard. As it often is, the five tracks present a poetic and personal vision, creating a modern jazz sound.
Once again, great compositions and intensity.
VOIR 4 juillet 2018
par Ralph Boncy
Reconnaissable à son béret gris et à sa large palette sonore, le pianiste de Québec Gilles Bernard sort enfin de sa tanière, le Studio de l’Ours. Ce nouvel album, à la fois réfléchi et spontané, donne beaucoup d’espace aux autres membres très éloquents de son excellent quartette: le saxophoniste brésilien Thiago Ferté, le batteur montréalais Louis-Vincent Hamel et le contrebassiste Pierre Côté, avec qui Bernard joue depuis des décennies. Fréquence 119 (la fameuse note bleue, d’après le leader) est constitué de cinq longues pièces originales signées par l’unique compositeur. Tantôt grave (Requiem pour Colette), tantôt ponctué d’humour jazz bop (Le Cambrigor), il se termine avec Via, un bijou de légèreté sur cadences tropicales comme un clin d’œil calypso à Sonny Rollins et Monty Alexander. Ici, la musique prend son temps.
4 RUE DUROCHER FND143 EFFENDI RECORDS
july 2016
1 Agathe
2 L' Enigme du 401 boulevard Charest ouest
3 Marie (intro)
4 Marie
5 le vent
6 Woog’s blues
7 reine des cimes
All compositions by
Gilles Bernard
Gilles Bernard - Piano
Pierre Coté - Double bass
Thiago Ferté - Tenor saxophone
Louis-Vincent Hamel - Drums
Recorded at Studio de l'Ours
GILLES BERNARD QUARTET
GILLES BERNARD QUARTET
Le Soleil 13 février 2016
by Nicolas Houle
Verve and Cohesion
The one that we got to know as more introspective during a certain period appears here as more emancipated than ever behind the keyboard. He defends well-written jazz titles played with verve. To support him, he asked his long-time accomplice at the bass, Pierre Côté, as well as saxophonist Thiago Ferté and drummer Louis-Vincent Hamel. The team displays an unquestionable cohesion, either on more cerebral pieces, such as L'énigme du 401 boulevard Charest Ouest (“The Enigma of 401, West Charest Boulevard”), with syncopated, sensitive themes like Marie, preceded by a solo introduction from the leader, and can be epic, like in this new version of Reine des cimes (“Queen of Tops”). The 4 musicians also salute late Quebec City blues pianist, Woogie. Other than Bernard, we have to recognize the work of Côté, offering more than one well-executed solos, and the arrival of Ferté’s tenor sax, of colors perfectly harmonized with Gilles Bernard’s universe.
***1/2
Sea of tranquility 7 october 2016
by Jon Neudorf
Gilles Bernard is a Quebec composer and pianist who is very highly regarded amongst North American jazz musicians. He has released seven CDs as a band leader including his latest titled 4 Rue Durocher. As with most of the jazz albums I have heard this year, the music is top notch. Bernard is a very skillful pianist and wrote all seven compositions. Whether forceful or barely brushing the keys, Bernard's playing takes on various shades and hues. The bopping "Le Vent" is an up-tempo number featuring swirling piano motifs and an awesome solo bass. Similarly "Woog's Blues" is another quickly paced tune with more outstanding bass and sax solos before gently leading into the mellow intro of "Reine Des Cimes" with its enchanting piano soon developing into a quicker pace having major contributions from all musicians. The extended bass solo and richly toned sax are certainly highlights. Other strong tracks include the relaxing and moody jazz of "Agathe", the punchy sax led rhythms and tricky drum work in "L'enigme Du 401 Boulevard Charest Ouest" and the wonderful display of piano in "Marie (Intro)".
This is Bernard's third release for Effendi Records and it's a good one. 4 Rue Durocher is modern post-bop jazz played with passion and gusto and will sit well in any well rounded jazz collection. Recommended.
Jazz Weekly Creative Music and other forms of Avant Garde 18 July 2016
by George W Harris
Post bop quartets from up north
Pianist Gilles Bernard leads a gracious tam of Thiago Ferte’/ts, Pierre Cote/b and Louis-Vincent Hamel/dr through a collection of post bop originals. Bernard has a tender touch on the piano, and with Ferte’s warm tone, pieces such as “Agathe” and “Marie” are calm and relaxed. The rhythm team knows how to flex its muscles as on the boppy “L’engime Du 401 Boulevard” but also shows its ability to caress a groove as on the gently cruising “Le Vent” Bernard can caress the ivories with rich authority, displayed on “Marie (Intro)” and “Reine Des Cimes” making this a rich part of French Impressionism with acoustics.
Sorties Jazz Nights.com February 18, 2016
by Christophe Rodriguez
I admit, I don’t know pianist Gilles Bernard very well. Yet, this long-lasting performer distils an enjoyable personal blue note. In a peaceful atmosphere evoking the passing of time as well as real or imaginary places, 4 rue Durocher positions itself in the continuity of “made in Quebec” jazz. Surrounded by Bernard’s old accomplice, bassist Pierre Côté, some young players join this moving jazz, like tenor saxophonist Thiago Ferté and drummer Louis-Vincent Hamel.
In these 7 pieces up for discovery, free jazz unveils itself like a log book with poetic titles such as La reine des cimes (“The Queen of Tops”), Marie, Agathe or L’énigme du 401 boulevard Charest Ouest (“The Enigma of 401 West Charest Boulevard”). Without knowing it, this series of unique compositions is almost an intimate mystery novel appealing to the heart and the mind.
All is said so take the time, this is worth eavesdropping.
THE JAZZ WORD 16 october 2018
by Nolan DeBuke
Throughout pianist Gilles Bernard’s career, he has collaborated with many renowned musicians in the Quebec jazz community, with a career spanning from 1985 to present some of his collaborations have included John Zorn, Ellis Marsalis, Ranee Lee and more. On his album 4 Rue Durocher, Gilles explores an angular modern jazz path with longtime collaborator, bassist Pierre Côté, and new faces, tenor saxophonist Thiago Ferté with drummer Louis-Vincent Hamel.
“Agathe” is an original composition by Bernard that has an interesting shifting pulse that flows through a form that is evolving and logical. Ferté’s saxophone and Bernard’s piano double the melody for the majority of the melody. Their phrasing and combined focus is exceptionally musical. Ferté’s solo starts with patient lines that spend just as much time listening as playing. Bernard is a consummate listener too. Always letting the music tell him when and when not to play, letting his improvisation methodically evolve into a strong musical statement.
The quartet kicks into high gear for “Le Vent.” A selection that is set to an up-tempo swing and displays Ferté and Bernard’s conversational skills. Bernard is constantly commenting and pushing Ferté during his solo to build and communicate. For Bernard’s solo the conversation is between Hamel’s rhythmic flurries and Bernard’s choice of right-hand patterns. The music benefits from these conversations, as the track evolves over time. Coté turns in a fine solo that melodically covers the full register of his double bass.
Each tune is thoughtfully constructed with elegant musings at times and darkly modernized lines of tension and release. Each musician is a befitting foil to the other, all pushing each to the brink of mindful creativity, while not allowing the music to linger or become stagnant. It is in the details and the commenting where you hear the subtle mastery residing. A must listen, though this took me a while to get to, I am glad I revisited it again as it certainly withstood the initial listen
LE CHAPEAU DE MA SOEUR FND012 EFFENDI RECORDS
1 Le chapeau de ma sœur traditional
2 pour moi c’est toi
3 l’autre
4 sud
5 kafé
6 blues pour William (for Dan)
7 introspection mood
the other compositions by
Gilles Bernard
Le journal de Québec 4 novembre 2000
by Jean Beauchesne
Pianist and pillar of the Quebec City jazz scene, Gilles Bernard offers a diversified program between Lennie Tristano-style cool jazz, Dollar Brand (Abdulla Ibrahim) afro and a re-reading of Dave Burell’s Ellington. As relevantly stated by Denis Lelièvre, Bernard is influenced by Monk and Mingus for the aesthetic of his approach. This is swing, introspective and rational. An intelligent and soothing music by a talented pianist and his equally talented musicians.
Jazzman mars 2001
by Francisco Cruz
« un amour du blues et un esprit d’ouverture vers d’autres cultures afro-américaines. Les influences harmoniques du jazz parlent de liens privilégiés avec la musique de Monk et de Mingus, mais aussi celle d’Abdulla Ibrahim. Et ce coté africain, plus mélodique que rythmique, est renforcé par l’évocation subtile de chants antillais et latino-américains. La musique improvisée de Gilles est plutôt celle d’un piano chantant, accompagné d’un chœur instrumental… »
Gilles Bernard - Piano
Alain Boies - Saxophones
Pierre Côté - Double basse
Raynald Drouin - Drum
in nomination «Opus Prize» for
best jazz album of the year 2001
Critique
by Denys Lelièvre
With a spirit open to the African and Latin music as well as the modern improvisation concepts, without getting far away from the spontaneity of blues, Gilles Bernard remains, by many aspects, a deeply cool specimen (the sobriety of his playing, a certain restraint), giving us a feeling of perfume with “Le chapeau de ma soeur.
Le Soleil 11 novembre 2000
by Pierre Boulet
At the beginning, the first notes reveal a very simple melodic line. Then, under the pianist’s fingers, little rays of light string together and a fade-out of a great harmonic richness emerge. A few seconds and we are taken away. We can only put one signature on this, the one of the pianist-composer Gilles Bernard.
L’Express janvier 2001
by Dominique Denis
Poetry on the Tip of the Fingers
Here is a record that establishes itself with so much evidence and elegance that it is almost suspect. Up to the last note of the last piece, it seems to want to make us comfortable, to offer us a maximum of pleasure for the least amount of effort. But be careful: do not think that this album has to be classified as smooth jazz. Let’s just say that Bernard is not the type of musician that takes the most rocky road to reach serenity. He favors caress rather than catharsis. In jazz, there is John Coltranes and Gilles Bernards, and it is a very good thing. Bernard reminds us that in good hands, jazz becomes the privileged language of an unspeakable poetry.
Jazz hot mars 2001
by Michel Bedin
Le chapeau de ma sœur is completely integrated quality mainstream jazz. Beautiful compositions in the spirit of Monk… This Canadian quartet gives a beautiful emotion and shows us that jazz is present in all countries.
MOT FND005 EFFENDI RECORDS
1 mama Lucia
2 week end
3 décal
4 oléo Sonny Rollins
5 migrateur
6 train Trane
7 man fou
8 after the rain Mathieu Bélanger
the other compositions by
Gilles Bernard
Gilles Bernard - piano
Alain Boies - saxophones
Pierre Côté - double basse
Raynald Drouin - drum
Ranked among the 10 best albums of the year within the special section «Top of the newspaper «LE SOLEIL» in December 1999.
Extrait du livret
by Guylaine Coderre
Je pense aux musiciens que j'aime. À ceux qui étaient déjà des compagnons de fortune dès les premiers feux. Qui surgissaient de la nuit, et qui, par une adéquation parfaite trouvaient leur place en la faisant. Le cercle du feu grandit avec les amis... Il y a eu beaucoup de temps perdu. Mais pour la musique, jamais il n'y en eut, si simple qu'elle fût même lorsqu'elle s'était tue..
Le Soleil 1er aout 1998
by Pierre Boulet
The Priceless Fidelity of Gilles Bernard
We will never know from which secret chamber springs the singing, from which far away, from which fear, rage, tenderness or regret, from which nostalgia this long trail takes his voice and, as always, unpredictably takes us away.) This is while listening to “Mot”, Gilles Bernard’s most recent record, that I suddenly though about these lyrics by Gianmaria Testa. As if they had been written to qualify the mysterious sensitivity that one of the most faithful Quebec City jazz music creator delivers to us, piece after piece.
GILLES BERNARD REPERTORY ORCHESTRA
1 Misoton
2 Introspection mood
3 Migrateur
4 Accordéon
5 Kafé
6 Wakou Nobel
Compositions and arrangements by
Gilles Bernard
Gilles Bernard - piano & synthesizer
Pierre Coté - double bass
Raynald Drouin - drum & percussions
Alain Boies - soprano sax
Michel Coté - alto sax
Bruno Dumont - tenor sax
Dave Parker - baryton sax
Hugh J. Watts - trombone
Jean Robitaille - trumpet
In 1993 won the Prize of the Foundation «world music»
Photo Eric Maillet
Le Festival International de Jazz d’Ottawa 1994
Série « Les grands du jazz canadien »
par Jacques Emond (directeur de la programmation)
J’ai bien aimé ta formation ainsi que le répertoire que tu avais choisi pour ce concert. L’énergie dans les orchestrations et les remarquables solos des musiciens font de ton groupe un des meilleurs au Canada. Évidemment, la clef du succès de l’ensemble réside dans le dynamisme musical et le talent du leader du groupe.
Prize of the Foundation world music
In order to create remarkable music of the "REPERTORY ORCHESTRA", the composer, Gilles Bernard, chose the City of a thousand Lights, Paris. Thrown on an avant-garde basis, Gilles Bernard's compositions intelligently harmonize creativity and sensitivity. Within this musical ensemble, Gilles Bernard's warmth of interpretation, allied with its flowing and limpid way of playing translates his numerous trips to Europe, the West indies and Africa.
Le festival international de jazz de Québec Le Soleil 27 juin 1994
by Léonce Gaudreault
This is with delight that the audience of the Musée du Québec auditorium assisted to the “world premiere” of Gilles Bernard’s “Repertory Orchestra”, a series of original pieces arranged for a big band, last Saturday night. As soon as the first notes resonated, it seemed obvious that we were assisting to a musical event during which the pianist-composer Bernard was offering a mature work, as much for the quality of the arrangements than for the quality of the interpretation by a harmonious band.
4 x 4
1 Variations riveraines
2 Accordéon
3 Around two Miles
4 Misoton
5 Introspection mood
6 L'Autre
7 Méïnou
8 Wakou Nobel
Compositions and arrangements by
Gilles Bernard
Gilles Bernard - piano
Alain Boies - saxophones
Pierre Coté - double bass
Raynald Drouin - drum
Charles Bernier - 1er violin
Inti Nanzi - 2ème violin
Annie Morier - alto
Marie Bergeron - cello
GILLES BERNARD
GILLES BERNARD
VOIR 20 septembre 2001
par Gilles Tremblay
Gilles Bernard s’est livré à un exercice périlleux : marier un ensemble jazz et une formation classique. Plusieurs, et non les moindres, s’y sont cassé les dents. Mais la musique lyrique de Bernard s’est enrichie au contact des cordes. Dès l’ouverture, on sentait que la soirée serait exceptionnelle. Accordéon, un thème inspiré du tango, montrait déjà une belle unité entre quartet et quatuor. Le plat de résistance fut sans conteste Wakou Nobel (« Au sujet de l’amour » en wolof) : symbiose parfaite entre jazzman et musiciens classiques. Un état de grâce. Loin de paralyser l’imagination, la création a produit de beaux moments d’improvisation.
VOIR 22 septembre 2001
par Denys Lelièvre
Dans l’antre du musicien: un piano qui occupe une place centrale, qui résonne remarquablement, quelques machines pour de savantes alchimies, des disques des pianistes Bill Evans et Brad Mehldau écoutés jusqu’au vertige et, épinglée au mur, une photo de Henry Miller de qui GILLES BERNARD dit, le regard brillant, que l’écrivain le "touche dans sa façon de voir les choses au présent". Une façon salutaire de garder le contact avec le présent.
FRUIT JAZZ
Solo piano
1 Tristan
2 Petite Reine
3 Nid d’Hirondelle
4 Sangine
5 Le petit champignon rouge
6 Agrumes Amères
7 Côtes du Jardin
8 Mûre Mûre
9 À la citronelle
Free improvisations
Recorded at Studio de l'Ours 2006
GILLES BERNARD
GILLES BERNARD
GILLES BERNARD
Critique
par Denys Lelièvre
La musique de Gilles Bernard cache en creux les stigmates de l’expérience humaine mais aussi l’écho rond, chaleureux de musiciens qui balisent une vie entière. Entre pleins et silences, le jeu du pianiste donne à entendre l’énergie la plus brute comme la tendresse la plus nue.
Un homme, un piano. Peu à peu, cette rencontre singulière arrache quelque forme à l’invisible, donne naissance à de petits objets de beauté. Peut-être des fruits, simplement des fruits, fine pelure puis chair entière.
NOEL AU PEROU
Solo piano
1 Venez divin messie
2 Winter wonderland
3 Minuit chrétien
4 Les enfants oubliés
5 What child is this
6 Noël au Pérou : l’enfant au tambour / la promenade en traineau
7 Comme un fou Gilles Bernard
8 Noël blanc
9 Ça bergers
10 Sainte nuit
11 The christmas song
Arrangements by
Gilles Bernard
Recorded at Studio de l'Ours 2006
Ogane Song - Sud - (nouvel ART-SEL 1201) 1986
VINYL
1 Sud
2 Légende Maurice Bouchard
3 La madeleine
4 Men fous
5 Tango Raynald Drouin
6 Tremplin
Other compositions by
Gilles Bernard
Gilles Bernard - piano
Alain Bédard - double bass
J.G. Maurice Bouchard - saxophones & voice
Pierre Tanguay - drum & tabla
Face A
Face B
MACADAM TANGO essai, éditeur : Triptyque (page 85)
par Pierre Monette
Groupe OGANE SONG : un déchirement de stridences contemporaines qui s’avèrent nécessaire à notre sensibilité plus empâtée qu’à l’époque – le siècle qui nous est passé dessus nous a fait la couenne plus dure…
The Troubling Sound of Crystal Le Soleil 6 juillet 1992
by Léonce Gaudreault
With him, all the harmonic richness of the “acoustic” piano is enhanced. His compositions have the clearness of crystal, without any overload of decorative notes. Gilles Bernard knows how to create sound universes corresponding well with the intentions proclaimed by the titles of the pieces.
Critique
par Pierre Boulet
Sud
Un point cardinal évocateur qui sent bon l ‘orange, le nid d’hiver des musiques migratoires. OGANE SOND. Quatre oiseaux-musiciens dont les racines sont bien d’ici. Leur musique a parcouru le monde. Elle s’est nourrie du soleil, de la moiteur des nuits tropicales. Elle s’est revêtue de nattes tressées d’orchidées et de feuille de coca. Une musique qui éclôt ici, dans un bouquet subtile d’oranges, de mer noyée de soleil et de jalousie argentine. Elle puise son cri au cœur de l’homme et le porte à l’humanité, gorgé d’intentions fraternelles.
Les envolées lyriques et tourbillonnantes de GILLES BERNARD, au piano. Les rythmiques débridées et vitales de PIERRE TANGUAY. Les tempos graves et mélodiques du bassiste ALAIN BÉDARD. Et le souffle chantant, psalmodiant parfois, du saxophoniste JOSEPH MAURICE…un souffle qui s’allonge jusqu’à l’éclattement.
Probablement le plus beau disque qu’un ensemble de jazz québécois ait enregistré ici depuis longtemps. Il faut dire que la musique d’OGANE SONG partage le lit du soleil. Quand il se couche, elle se lève. Et pendant que le jour dort, elle redevient contrebandier de lumière.
SUD’…dans le sens de passion.