Archives de catégorie : PRESS

Qeqertarsuatsiaat Review in Improjazz

Improjazz – March 2017 / by Luc Bouquet :

Se mettre en éveil. Rester en suspension. Garder les espaces dans son chant de vision. Fuir les fragilités. Faire fructifier l’attente. Rester acoustique(s). Se dévoiler peu à peu. Presser le mouvement. Avoir des fourmis dans les baguettes. Se ruer sur le cercle. Gambader sur l’ivoire. Faire de l’horizontalité un cosmos. Faire rougir les harmoniques. Greffer les harmonies. Adopter la brume. Plaquer l’accord. Lui laisser vie. Puis, s’éloigner. En vrac, quelques petites choses que savent magnifiquement activer Messieurs Jérémie TrenoyIvann Cruz et Peter Orins.

Air Bump Review in Vital Weekly


Fifth album by this trio from Lille that is around since 2009, and exponent of the active and innovative Circum-Disc scene. Jérémie Ternoy (Fender Rhodes), Ivann Cruz (guitar), Peter Orins (drums) are assisted by following brass players: with Christian Pruvost (trumpet), Sakina Abdou (sax), Jean-Baptiste Rubin (sax) and Maxime Morel (tuba, trombone). Each release documents a certain project. This time New Orleans is the source of inspiration. At first glance obvious references to ragtime, marching bands, professor Longhair, New Orleans funk are missing. But the way the horn blowers choose their own directions, and coproduce a pleasant wilderness I can relate to the behaviour of horn players in marching bands. Especially in the closing track ‘Kat Kid’. But the blowers are embedded in strange, circular patterns by guitar and drums. The music is like a constant stream of strongly interconnected playing by the trio, drone-based, with hypnotic effects and sometimes leading up to an explosive climax. All four tracks are the result of collective improvisation. Another fascinating and captivating album by this obstinate trio from Lille, in an inspiring coproduction with Compulsive Brass. (Dolf Mulder)

Review of Qeqertarsuatsiaat & Haircut in The Free Jazz Collective

by Eyal Hareuveni

(…) Jérémie Ternoy / Ivann Cruz / Peter Orins – Qeqertarsuatsiaat (Circum-Disc, 2016) ****½

The trio of pianist Jérémie Ternoy, guitarist Ivann Cruz and drummer Peter Orins, known in its electrified version as TOC, decided to unplug and to go opposite to all characterized it before, i.e. energy, density, volume, excess, channeled into a twisted mix of post-punk-post rock-post jazz. This time the trio opted to explore the timbral range of their acoustic instruments in a minimalist, sparse and spontaneously improvised interplay. To add an exotic flavor to this album, the title is the name of small settlement in the southwestern Greenland, while the other pieces are titled after remote towns in Algeria, Ethiopia, Pakistan, Mongolia, Hokkaido, and Okrug, Russia.

The established interplay of the trio, solidified on previous three albums of TOC, as well as the extensive experience of the resourceful Ternoy, Cruz and Orins in many other projects contribute to the success of this sonic adventure. The trio knows how to sketch multilayered and intriguing textures that flow organically by their inner logic. Pieces as the atmospheric “Djanet”, “Gilgit”, the mysterious “Wakkanai” or the weird, hypnotic rhythm of the title piece, dissolve any attempt to distinguish such improvisation from a written, well-crafted composition. All these pieces sound fresh, eccentric with its inventive approach, but surprisingly coherent.

(…) TOC – Haircut (Circum-Disc, 2014) ****

The third album of TOC – following their debut, a soundtrack to a wildlife documentary, Le Gorille (2009) and the sophomore work for a dance company, You Can Dance If You Want To (2012) – is focused on different forms and levels of energy. Haircut is built as two consecutive pieces, and is an insistent, sometimes repetitive research of different modes of highly energetic interplay, built on the spur of the moment. The two pieces, “Half Updo” and “Updo”, do not settle on any pulse or structured progression, but developed as in waves and storms of effects-laden energy.

There are moments when TOC sounds as locking on a distinct form, as on the third part of “Half Updo”, in a heavy, spacey groove, almost with a dance-like pulse, or in the infectious, noisy beat on the beginning of “Updo”. But soon TOC transforms these muscular outpours into another sonic adventures that has an altogether different rhythmic characteristics, still charged with high-octane energy. Eventually all the energy is channeled towards the ecstatic climax at the end of “Updo” where TOC explodes in a fast, reckless and wild mode. (…)