The Festival International de Musique Actuelle de Victoriaville (Victoriaville FIMAV Festival) May 18-22, 2000

CLICK A PHOTOGRAPH TO BE TAKEN TO ITS CONTEXTUAL POINT IN THE ARTICLE Bob Ostertag "playing" Yugoslavia Suite. Ossatura: From l to r : Fabrizio Spera, Elio Martusciello, Maurizio Martusciello, Luca Venitucci. Le Grand Orchestre d'Avatar. On stage, from l to r : Jocelyn Robert's computer, Pierre-André Arcand (front), Boris Firquet's head, David Michaud's head and Chantal Dumas' torso. On screen : Pierre-André Arcand with the antennas, Fabrice Montal in the back. All photos by Martin Morissette, kindly provided by the FIMAV.

Every year on the third weekend of May, the Festival International de Musique Actuelle de Victoriaville (or the Victoriaville FIMAV festival, as it is known to English-speaking communities) takes place. Victoriaville is a small town located 90 minutes north-east of Montreal. Renowned for its dairy farms and its hockey stick factory (!), it is also home of one of the most appreciated new music festivals in North America. The FIMAV is different from other events in this field: its musical palette covers all aspects of "demanding music", ranging from free jazz to electroacoustics, from avant-rock to contemporary music. The festival is conceived so that one visitor can see and hear all shows, divided between three neighboring sites.

The 17th edition of the FIMAV took place from May 18 to 22 2000. Five days, 27 shows. For the fifth consecutive year, I was there as a reporter for CFLX, a community radio station located in Sherbrooke (60 minutes south-west of Victoriaville), where I produce and host "Délire actuel", a show dedicated to "demanding music". Every year I race this musical marathon with François Nadon, an old friend and reporter for CISM, a campus radio station in Montreal. This year, my wife Josée and our 18 months old daughter Yance accompanied us for a few shows.

What follows is the contents of my notebook, in which I wrote down my impressions throughout the festival. To these ruminations -- scribbled mostly with very little light coming from the stage -- I will add a short conclusion that will give an overall appreciation. This part was debated with François, a few other reporters and members of the volunteer staff at the end of the festival.

To help the reader follow me through this adventure, here is our schedule for the five days:

Thursday, May 18 2000

• 20:00: Kimmo Pohjonen (Finland)
• 22:00: The Paul Cram Orchestra (Nova Scotia, Canada)
• 00:15: Pierre Dumont (Quebec, Canada)

Friday, May 19 2000

• 13:00: Double bill: Vertrek Ensemble (Alberta, Canada) / Detention (Quebec, Canada)
• 17:00: Marc Couroux (Quebec, Canada)
• 20:00: Palinckx (Netherlands)
• 22:00: Willem Breuker Kollektief (Netherlands)
• 00:15: Papa Boa (Quebec, Canada)

• 13:00: Thomas Lehn - Roger Turner - Tim Hodgkinson (Germany and England)
• 15:00: Bob Ostertag (USA)
• 17:00: Mark Dresser - Denman Maroney (USA)
• 20:00: Ken Vandermark 5 (USA)
• 22:00: Mike Patton & X-Ecutioners (USA)
• 00:15: Martin Tétreault - DJ Pocket - DJ Mutante (Quebec, Canada)

Sunday, May 21 2000

• 13:00: Mari Kimura - Roberto Morales Manzanares (Japan and Mexico)
• 15:00: Ossatura + Tim Hodgkinson (Italy and England)
• 17:00: Shelley Hirsh - DJ Olive (USA)
• 20:00: Fred Frith - Jean-Pierre Drouet - Louis Sclavis (England and France)
• 22:00: David Thomas (England and USA)
• 00:15: Le Grand Orchestre d'Avatar (Quebec, Canada)

Monday, May 22 2000

• 13:00: René Lussier - Gilles Gobeil (Quebec, Canada)
• 15:00: Jean Derome (Quebec, Canada)
• 17:00: Chris Cutler - Fred Frith (England)
• 20:00: Triple bill: Paul Plimley - John Oswald (Canada) (unannounced) / Marilyn Crispell (USA) / Cecil Taylor

DAY 1: THURSDAY, MAY 18

19:45 - before Kimmo Pohjonen

First contact is enjoyable as always. It feels so good to be back. Victoriaville doesn¹t change much from year to year. It¹s somehow reassuring for us festival-goers.

I already bought a CD: Pohjonen¹s Kielo. The track I heard on the FIMAV demo tape was good enough. And Josée wanted to be here tonight but couldn¹t (she¹ll come with us tomorrow). So I¹ll bring her back the CD. Funny thing: as I was completing the transaction, somebody recognized me from the name on my press pass. He¹s an regular visitor of the Délire Actuel website. Well, greetings to you, stranger, if you happen to read this!

Surprise: while waiting for Pohjonen, we are hearing in the PA system the latest King Crimson CD, Reconstruktion of Light. Isn¹t it a bit commercial for an entree?

During Pohjonen

Kimmo Pohjonen is a Finnish accordionist. He opened the show with a very free piece -- impressive. The two follow-ups are a lot more simple, a crossing between pop and the traditional world of accordion, with standard use of voice. Still, he can shake things up and is a delight to watch and listen. The third piece built up in a majestic climax helped by a percussive loop (produced on the accordion at first) and vocals.

Pohjonen uses a lot of effects on the accordion (stereo panning, echo, delay, reverb, electronic manipulations) and the voice.

You know what? His use of the voice isn¹t that standard after all. Lots of mouth noises, in loops. The voice becomes a complement but also serves as contrast to the accordion.

Later

Very nice show. The finale was hallucinatory: Pohjonen all in accordionistic convulsions backed by ever-growing loops and a catharsis, during which he was sitting on a chair, hiding behind his instrument, letting his eyes appear slowly, spying on us.

It's a popular approach, this little clownish element; it always makes purists¹ teeth grind but also makes new music more accessible to neophytes (after all, the opening show is always meant to be more accessible -- they don¹t want to scare off the dignitaries). A good choice to kick off this edition, enjoyable and entertaining. And I must confess: I¹m a sucker for accordion.

Before The Paul Cram Orchestra

Hanging around the CD bins before going inside for Paul Cram. Once again this year, choices will be difficult and my wallet will suffer.

François didn¹t like Pohjonen as much as I did, but the accordion is not an instrument that gets through to him. This show was meant as an opener: easy listening, well structured in terms of contrasts. It was the best opener I have seen here since Boris Kovac in 1997.

During Paul Cram Mixed and uncertain feelings about the Paul Cram Orchestra. This is a "avant-garde stage band", so to speak: two saxophones, trombone, trumpet, clarinet, cello, electric guitar, electric bass, piano/synth and drums. I wasn¹t expecting much from this particular act and I am not getting much. The second piece performed, "Captain's Chair", is the most interesting. It unfolds in an oceanic form, tide after tide, a feeling magnified by John Gzowsky¹s prepared guitar. But it all has been done before.

The writing is complex, enlightened and shows potential, but the band lacks tightness. The "stage band" trend is strong nowadays in the new music field and there are many bands out there that would have been better than this one. And in five years at the FIMAV, it¹s the first time I hear a conventional drum solo. Disturbing.

I¹m knocking nails and I¹m starved. To get here on time for the first show we had to eat early. The mind is ready for this FIMAV, but the body has not find the right path yet. It will be easier tomorrow.

11:30 next day, in the car on our way to Victoriaville

I had left my notebook in the car (our headquarters) last night and couldn¹t write. I¹ll complete my thoughts on yesterday's last show while Josée drives (she and Yance accompany us today).

The Paul Cram Orchestra left us unsatisfied, to say the least. Not bad, but not really good either. They had nothing to set them apart. I heard many negative comments after the show.

Pierre Dumont was better. The four musicians were playing in the middle of the room. Dumont is a musician-painter-sculptor and his works were exposed on the walls. So the public was invited to sit on the ground, sandwiched between the musicians and Dumont¹s artistic world. Impressive percussion equipment is the backbone of this music, almost ritual, embellished by Pierre St-Jak's piano and Lou Babin's voice and accordion. Nice, even "trippy", but not transcendent. This music is meant as a background for the exposition and, moreover, it relies on numerous sequences and samples which seemed to fail to work at times. There was tension in the air. I have heard Dumont's record "Chimère" and this show gives the impression that everything didn't go as planned. It could have been better.

All in all, an enjoyable opening night with an accessible theme. We¹re waiting for the big guns. We seek pain. We want to get hurt.

DAY 2 , FRIDAY, MAY 19 2000

12:50, before the Vertrek Ensemble

Yesterday¹s rain is gone, but it¹s still chilly today (15 C).

I exchanged views with François and music writer Marc Chénard on last night¹s shows. Mixed opinions on Pohjonen, but we¹re unanimous on Cram: no good.

Very interesting discussion with Chénard, whom I knew only by name (he writes for prestigious European and American music magazines and produces a new music radio show at CKUT in Montreal). He appreciates the Austrian scene (Werner Dafeldecker, Christof Kurzmann, Martin Siewert, etc.). Nice to see that I am not the only one! Maybe the two of us can convince the FIMAV to invite Dafeldcker next year. We¹ll see.

During Vertrek Ensemble

Electric guitar / drums duo relying on free improv, reminiscent of the London school, slightly crossed with alternative culture. The drummer¹s musical language is limited, unconvincing. I¹ll give them more time to show what they have.

Hard to believe that with the very little talent they show they managed to record with Derek Bailey and Eugene Chadbourne, although I can see a relation between the latter and Vertrek¹s guitarist.

They have a relaxed approach that sinks right into amateurishness, but in the same time it reminds me of Chadbourne, to the difference that with Chadbourne, the amateurish aspect is intentional, controlled and meaningful. With Vertrek, there is no second degree. It¹s amateurish. Period.

This act is definitely a mistake for the FIMAV. This edition is taking a long time to reach its cruising speed.

During Detention

Second guitar / drums duo of this double bill. Detention is Sam Shalabi and Alan MacSween. Both are well known on the Montreal underground scene (with David Kristian and Godspeed You Black Emperor!; Shalabi also works with Molasses -- Ed.). A smooth start -- Shalabi uses a bow on his electric guitar. Yes, I know: it¹s been done. But he controls it very well. And already better than Vertrek.

Finally, an effective show! Detention is working all in details. The synergy between Shalabi and MacSween allows them to polish up through perfect listening skills and explore the very quiet (MacSween¹s approach is less technical, more instinctive and a lot better than Vertrek¹s drummer Ron de Joong) and the very loud. A show well constructed, solid, stuffed with talent. Bravo!

Their third improvisation is the perfect example of their art. Started loud and fast on a jerky, deconstructed rhythmic pattern, it dove after a minutes into a journey of the inner-self so well coordinated that it would be impossible to determine which of the two musicians instigated the move.

16:45, before Marc Couroux

I¹ve discussed Vertrek and Detention with François Marc Chénard and Rémi Leclerc (drummer of numerous bands such as Papa Boa, Miriodor, les Projectionnistes, l¹Orchestre des pas perdus, etc.). We all agree: Vertrek was a joke, they were playing any old thing. Detention had soul and excellent synergy. These are the two elements that make great free music -- soul and synergy.

During Couroux

Marc Couroux is a trained classical pianist. He¹s serving us a one-hour structured improvisation entitled "The Academic Counterpoint". His walk-on was very classical in form, but the image of the concert pianist shattered as he started playing. Couroux plays with spasms, something between an acute Parkinson attack and what looked as if his hands were glued to the keyboard and he'd be trying to take them off: wide elbow movements, arms twisting. Something like Fred Flinstone dancing with ice cubes in his shirt.

The title of the piece seems more and more ironic (d-uh!).

Wild non-stop strings of notes; only the intensity varies, but the pianist never stops. And more contortions.

Softer, but the same playing, same spasms, but this time with one hand over the other.

Couroux is now playing on his knees. The whole thing seems to be cathartic for the piano player. It¹s a deliberate effort to go as far as possible to the concert piano sphere.

Interesting idea, but it¹s too long, too linear. The shock to see this tall player, "jeune premier", play spasmodically passes after a few minutes and the variations (one hand over the other, on the knees, standing up), even the eventual but occasional stylistic modifications fail to sustain the audience¹s attention (which explains why I am writing so much during this show -- I¹m bored).

My expectations turn to Palinckx tonight. I hope this show will kick this festival into motion.

21:50, before the Willem Breuker Kollektief I couldn¹t write during Palinckx. Too good. Wow. This was a very in-shape incarnation of the band with brothers Bert (double bass) and Jacques (el. guitar) Palinckx and singer Han Bührs (whose convulsions on stage keep growing with age) being augmented tonight by star drummer Chris Cutler (of Henry Cow fame), DJ Do Not Ask and a classically-trained pianist. A Palinckx extra-large. I am a fan of this band from the Netherlands and I had seen them at the FIMAV three years ago. But tonight¹s show was more under control (and scripted), blending rock, progressive and RIO elements, punk, free improv and fury. Chris Cutler was nothing less than flamboyant, waltzing through the scores as if he¹d been in the band for 10 years (he just joined them). They took us from Bach to Kraftwerk, offering an incredible version of the latters "The Model". The music was all new with the exception of a 15 minute "Henry's Waltz" which had very little in common with the studio version presented on their latest CD, It¹s Frontal Dog (on the label Disques Victo).

After the uncertain start of this year¹s festival, we are now charged up and ready for things to come.

During the Willem Breuker Kollektief

Big disappointment: this show was supposed to be a special program offering a retrospective of the Kollektief¹s music for films of Johan van der Keuken, a collaboration that lasted for 25 years, and a show that would have included excerpts from van der Keuken¹s works (which are seldom seen in North America). This event created expectations as much from "new jazz" fans, for whom the Kollektief is a cornerstone of the Netherlands scene, as for movie buffs for whom van der Keuken is one of the great names of the European independent scene. But there have been technical difficulties, forcing the group to cancel the projection and put together a whole new set -- a more "standard" WBK show. Now the band must surpass Palinckx¹s energy AND make the audience forget about what should have been. Well, after the second number, it seems to be mission accomplished.

Very funny. The musicians won¹t stop clowning around: dancing, walking on all fours doing the dog (Imitating, he means. I hope -- Ed.), polishing the piano, all that on frenzied-up tunes with roots in jazz, fanfare, circus and ballroom traditions. Definitely the band to hire for your untypical wedding.

Midnight, before Papa Boa The WBK was very entertaining. Nothing can equal 25 years of working together. There: I am buying one of their numerous records, a "best of", which is as good a place to start as any. And I grab the first two Pere Ubu records recently rereleased. We¹ll be seeing Pere Ubu¹s David Thomas Sunday and all his records are lined up before my eyes. My wallet is screaming in agony. Only two. I promise...

I was feeling tired during the WBK. Already! This is only show number 8. Getting older I guess. I¹m starting Papa Boa¹s show with heavy eyelids. They had better help me stay awake!

DAY 3, SATURDAY, MAY 20 2000

12:50, before Konk Pack

Papa Boa¹s set was great. The quartet (Rémi Leclerc on drums, Bernard Falaise on guitar, Frédéric Roverselli on bass and samplers, Pierre Labbé on saxophone and flute) was augmented by singer Marcelle Hudon for a few pieces. A solid performance, noisier than the album (the excellent Tête à queue released last year on Ambiances magnétiques), which they played almost entirely, adding a few new compositions. Rémi and Bernard were in very good shape (which could announce a strong new Miriodor CD soon), but Pierre Labbé stole the show. He's a great blower who must be seen live (he¹s too discreet on the album). Papa Boa¹s music belongs to the avant-rock genre, close to Miriodor (without the keyboards): complex and funny. They rocked us hard and it felt great.

On a more negative note though, the band is trying too hard to reproduce every detail of the album, forcing them to use many samples and pre-recorded tracks. The set is flirting with amateurishness at times in-between tunes. The audience had to endure long pauses in order to let the samples load and the musicians change instruments. It held the show back. That being said, this set will remain one of the best from this year¹s festival.

Great temperature today, warmer. Our spirits are high, we are beginning this day with a very positive attitude. I am expecting a lot from the first two shows.

14:55, before Bob Ostertag

Oumpf. Phenomenal. Thomas Lehn (VCS-3 synthesizer), Roger Turner (drums) and Tim Hodgkinson (table guitar, the second of three Henry Cow alumni appearing this year, the third one being Fred Frith), playing together under the name Konk Pack were fantastic, delivering two dense improvisations. Turner is the most inventive drummer I have seen, with maybe the exception of Paul Lytton and the indescribable Han Bennink (although in a totally different vein). I was transfixed throughout the show, regaining muscular conscience at the last minute, just in time to rush to the CD counter and buy their record before there weren't any left. Lehn was incredible to watch, multiplying movements on his VCS-3 to produce...very little sounds, actually. A landmark show, up to now the best of this 2000 edition of the FIMAV. Noisy, demanding and very rewarding free improv.

16:50, before Mark Dresser -- Denman Maroney

Bob Ostertag was a shock. I am still moved. It was a knout-out piece of work defying description, but I will try nonetheless. It is a work on the Yugoslavian war (title: Yugoslavia Suite), the relation between reality/virtuality, war/game. The piece, performed by Ostertag on three laptop computers and a joystick, uses only video and audio samples. Both come from war video games, military training software and actual footage of the war from various telecasts. I knew Ostertag was a highly-skilled creator with sampling (yes, I am a fan, mostly of his Say No More cycle), but he also came out as a stunning video artist. The first part of this suite was focusing on the video game / reality dichotomy, showing how war nowadays appears as nothing more than a video game to a soldier. For part two, there was somebody behind the screen using only his hands, which were filmed and integrated in real-time to the video footage, following the movements of various Yugoslavian leaders, underlining their hand language.

I¹ll stop my description here. I simply hope you have a chance to see the whole thing for yourself. It's striking. This work might bring Ostertag the recognition he deserves -- even a recognition from outside his field, reaching a wider audience because of the social aspects at play here. In a perfect world, Ostertag would participate to numerous "new cinema" festivals with this piece.

Before going in for the next show, I saw Ostertag talking with Fred Frith. I thanked him. I think the best compliment you can do to an artist is saying thanks. There, it¹s done.

During Mark Dresser -- Denman Maroney Very good concert, in the most pure free jazz tradition. I already knew the bassist Mark Dresser, but pianist Denman Maroney is a new encounter for me. These have only played as a duo twice in ten years. Dresser lived up to his reputation. Maroney uses a lot of the piano¹s inner resources (playing inside the piano, that is), which surprisingly was very well suited to Dresser¹s impressionistic playing. I must admit, however, that it¹s hard to concentrate after Ostertag¹s audio-visual charge.

Approximately 22:00, before Mike Patton and X-Ecutioners

Dresser and Maroney left me very satisfied with their nuanced performance. It was beautiful free jazz, which was after all a welcomed contrast after Ostertag (and that¹s what the FIMAV is all about: contrasts). Relaxing. The last two improvs got closer to jazz standards and created room for each musician to solo. Maroney used metal bowls on the strings, creating exquisite sounds.

At 22:00, it was the Vandermark 5, from Chicago. Ken Vandermark is the new jazz rising star and I had included his name on my recommendations list last year. His quintet delivered a good set, but too smooth for me. Vandermark built his set list on his more jazz-oriented material, leaving the free and the rock stuff out -- a disputable choice for a FIMAV gig. Still, they were energy-packed and presented a handful of new pieces to appear on their next CD, slated for a summer release on Atavistic. The V5 got the warmest welcome yet. But I can¹t forgive them for not playing "STHLM", the most dynamic track from their latest record (Simpatico, on Atavistic). They finished on a nice touch, a rendition of Sun Ra¹s "Saturn", though it gives the feeling they thought the FIMAV was a jazz festival.

During Mike Patton and X-Ecutioners

In an interview a few weeks ago, Michel Levasseur, artistic director of the FIMAV, admitted his initial project was to bring Fantomas, the other working band of Mr. Bungle¹s singer Mike Patton, to the FIMAV. Plans failed because of a schedule conflict with one of the musicians so Patton suggested this meeting instead: a "duet" between the alterno-metal vocalist and the New-York scratchers trio the X-Ecutioners.

I am surprised. I like it. I wasn¹t expecting much from this show (I don¹t like hip-hop), but I am witnessing an inventive set that graciously combines extremes and leaves a lot of room for good humor: as an introduction, the DJs "tuned" their turntables, using Celtic harp records, etc. Patton puts his voice and effects to good use. At times the whole thing sounds like Fantomas if the musicians had been turned into DJs by a weird witch: sound collages, frequent breaks, abrupt transitions, bossa nova. I had a lot of fun watching the youngsters in front of the stage desperately trying to dance.

Before Martin Tétreault -- DJ Pocket -- DJ Mutante

Satisfying set by Patton and X-Ecutioners. From a reporter point of view (meaning: somebody who doesn¹t pay for his ticket), it was enjoyable. A little long, though (75 minutes); the sauce was getting thin in the end. François didn¹t like it at all.

It is 10 past midnight. I have been up since 9:30 this morning and I won¹t go to bed until 2:45 or 3 o¹clock (we have a 70 minute drive home to Sherbrooke before hitting the hay: no money for a hotel rook in Victoriaville!). Since 1 PM we attended five shows, with a sixth one starting any minute now, and I am surprisingly well. This day has been great. Tomorrow should be just as exciting.

DAY 4, SUNDAY, MAY 21 2000

12:45, before Mari Kimura -- Roberto Morales Manzanares

The three DJs of yesterday¹s last show (Martin Tétreault, DJ Pocket and DJ Mutante) were quite good. The show started with an "LP race", each DJ going through his pile of records as fast as he could, playing only a second of each and throwing them in the middle of the stage. It felt like there was a bet on who would finish his pile first. Afterwards, DJ Mutante, from Montreal¹s hard-core scene, was establishing rhythm, DJ Pocket (techno scene) was essentially scratching and Tétreault was...himself, doing the unclassifiable stuff he does, as documented on numerous Ambiances magnétiques releases (plus a couple more on Amoebic and Audioview).

At one point, the three DJs started digging up the tacky legacy of Quebec LP history, alternating between party drinking songs and subliminal relaxation records, even improvising a little narrative by linking bits of dialogues from different recordings. Very funny, but the English-speaking festival-goers couldn¹t understand a word.

Once again, a beautiful day. As the festival goes from day to day, the weather has been improving with it. Or am I inverting the cause and the effect?

A reporter from a local TV station approached us as we were taking some sunshine before the show: "How does this festival compare to the previous years?" Well, surely better than last year, I¹d say -- more varied. But it¹s impossible to get any more precise now. After all, there are still ten more shows left.

Mari Kimura -- Roberto Morales Manzanares A set full of poetry. I an ripping myself off of the atmosphere to scribble a few lines as quietly as possible. The little Japanese violinist makes quite a contrast with the tall Mexican pianist-harpist-flutist.

This concert is all Manzanares'. He's an unknown musician from the north of Mexico, and this is his first show in Canada. The improvs are rather short (6 to 10 minutes), a nice change from the one-hour ventures of the past two days, and they allow Manzanares to shift from one instrument to the other: flute, piano, Vera Cruz harp. He is an excellent improviser, very expressive on stage. In one particular improv, he played a peculiar instrument, a sort of flute, actually more of an ocarina, which seemed to be porcelain or maybe pumice stone, with a mouthpiece in the middle and two snaking bodies, allowing the musician to play two notes at once.

Before Ossatura with Tim Hodgkinson

Manzanares was a nice discovery. Lyrical, expressive, quite enjoyable. On the other hand, I found Kimura a little unnerving. She seemed limited in her expression and too much on the "screeching" end of the violin palette. Given the choice, I would have prefer a solo set by Manzanares, but that would have been impossible since he is totally unknown here. I must point out how effective these two were at starting or finishing an improvisation on a dime. Very good.

16:40, before Shelley Hirsh and DJ Olive, sitting in the grass

Excellent Ossatura, although a little smoother than on record. The Martusciello brothers are quite impressive. Maurizio played a CD player linked to a kind of theremin allowing him to integrate movement in an art (sampling) that is usually quite boring to watch. Elio had a sampler linked to a touch surface on which he was "drawing" with his fingers, controlling the sounds. Electroacoustic/electronic musical hybrid, intense, dense, noisy but very rich in textures. Tim Hodgkinson accompanied the band (also a drummer / electronics player and a synthesist) on clarinet. It was one of the more beautiful moments of this festival. This group of improvisers deserve all your attention.

Before Jean-Pierre Drouet -- Louis Sclavis -- Fred Frith

Good set by Shelley Hirsh and DJ Olive. Olive is not a technician of the turntable; his art resides in the choice of records establishing an ambient ambiance (!). Hirsh is a New York vocalist with good vocal explorations and a nice stage presence. She improvises stories and takes profit from mishaps on stage (she had difficulties with her voice effects module). Nice.

During Frith -- Drouet -- Sclavis

Fun. Quite. Drouet (a French percussionist relatively unknown this side of the Atlantic) is just silly enough to make it work, dragging the other two into his game. He uses a lot of small objects and ethnic percussion, along with a more "standard" kit. Guitarist Fred Frith was in good shape, as was French clarinettist Louis Sclavis. But this is Drouet's showcase.

DAY 5, MONDAY MAY 22 2000

Noon, in the car on our way to Victoriaville

Big evening yesterday, couldn¹t find the time to write. I¹ll pick up the pace now as a means to conquer the sleepiness that won¹t leave me alone today. It is about time the festival comes to an end: we are physically exhausted, even though on the mental side the festival is easier on us this year.

Very nice performance by Frith, Drouet and Sclavis. Lots of humor and a beautiful finale: Frith surprised us all by ending it on the acoustic guitar in a tonal mode. Bang! The contrast that strikes. He repeated the trick at the encore.

We were expecting a big crowd for David Thomas, but it seems we remained under the 500 seated barrier for the leader of the cult avant-garage band Pere Ubu. David Thomas brought four musicians with him (including Chris Cutler on percussion and Thomas collaborator and member of Spaceheads master of the trumpet effect Andy Diagram) and three singers/narrators for Mirror Man, a rock opera (since there is no better term) in two acts of 60 minutes each. This piece was created in London in 1998 for one performance; yesterday was the second... and the second version too, as Thomas rewrote most of Act 2 for this one. A metaphor on heartland America, a "road movie" of some sort, Mirror Man is slow, heavy and claustrophobic: the art of establishing a bleak mood. Act 1 was the equivalent of the CD released last year on Cooking Vinyl/Thirsty Ear, with a few differences. It was also the best part of the show. In Act 2, Thomas and his musicians could not hide the fact that they didn¹t know exactly where they were going. The giant (Thomas approached 7 feet and weighs over 300 pounds) probably made last-minute modifications to his opera, and he found himself directing the musicians with a strong hand, at times shouting the song titles to them and even getting mad at one point: the music simply fell apart as the band couldn¹t decide on which piece to play. A fan in the audience took the opportunity to applaud but was froze alive by the glance he received from the big man himself. A nice show, but the first part was a lot better than the second.

To follow the slow and hypnotic performance of David Thomas, the Grand Orchestre d¹Avatar had to hit hard. Hit hard they did -- harder than anyone could suspect. The six members of this collective from Quebec city, led by Jocelyn Robert, were hidden behind a video screen. For an hour, they delivered an electronic music charge the likes of which I had never heard on the Avatar record label: powerful, aggressive, visceral, completely in phase with the video art displayed by Boris Firquet, going from stroboscopic mathematical statements to scenes from the surgery table. Firquet was also including real-time footage of the performance behind the screen. At one point, Jocelyn Robert was standing on a chair with a plastic bag taped to his head, looking like he was about the choke... and falling down, bringing the climactic music to a shockingly smooth catharsis.

Avatar¹s performance left us speechless. An incredible discharge. A revelation. I know all the records of Avatar members, but NEVER would I¹ve suspected them able to hit so hard and so true.

After twenty FIMAV shows, this one is the most surprising, the most "actual" and simply the best of this edition.

16:55, before Fred Frith -- Chris Cutler

On René Lussier and Gilles Gobeil: a mixed (guitar and tape) electroacoustic piece co-written by the famous Ambiances magnétiques guitarist and the electroacoustician, entitled Le Contrat and based on Goethe's Faust. Good piece, simply. This is not a landmark performance for either of them. A studio recording of the piece will come out on Empreintes DIGITALes later this year.

On Jean Derome: almost a complete surprise and... disappointment. Too soft. The description (written by Derome himself) in the FIMAV program promised a dozen musicians from Ambiances magnétiques and the title Canoe-camping, which is Derome¹s favorite summer activity. So we were expecting something festive, with a holiday feel, funny, bouncy -- a little like his tribute to George Perec presented three years ago, the perfect show for the last afternoon of the festival, something to keep the hard-core festival goers awake. Well...let's just say that Derome must find canoe-camping very hard. A continuous piece, long (75 minutes), with nice textures and developments but way too smooth. People in the first rows were fighting sleep (somebody was actually snoring). A show to forget.

During Fred Frith -- Chris Cutler

Good show, but a lot calmer than I expected. Cutler is mostly working on small objects. He hasn't touched his drum kit yet.

19:00, while eating

Over two shows and four improvisations, Fred Frith managed to finish them all the same way: softly, on acoustic guitar, in a tonal mode. It disappoints me. I found him good, but not transcendent. His performance with the Fred Frith Guitar Quartet a few years back was better.

During Paul Plimley -- John Oswald

There is one thing missing from the FIMAV festival: surprises. If the FIMAV is tightly organized (and that's appreciated), it lacks an open structure to encourage spontaneity. Everything goes according to plan. Well, not tonight.

The announced double bill of Marilyn Crispell and Cecil Taylor, both solo piano acts, has been augmented to a triple bill. Paul Plimley (piano) and John Oswald (saxophone) are opening the night.

For something like that to happen (two extra fees for the FIMAV to pay, since the ticket price was meant to cover only the two announced acts), there must be a major reason. Not only is there an extra show, but the doors opened at 20:30 when the show was scheduled to start at 20:00. What¹s going on? Information from the volunteers and staff is sparse and contradictory, but one thing seems sure: Cecil Taylor has not arrived yet. Allegedly, he had last-minute engagements in the morning, forcing him to take a later flight which was delayed. This extra show is meant to buy some time. Plimley and Oswald both played here in separate groupings last year and they were in Victoriaville as tourists this week-end. They were recruited at the last minute.

That being said, the duo is very good. Nobody will complain. But this free jazz night will end much later than expected.

During Marilyn Crispell

The FIMAV staff members seem touchy on the Taylor subject and retreat with an uncertain attitude. It's impossible to tell what's really going on. In the meantime, Marilyn Crispell offers a very lyrical performance: structured improvisations, with some passages thoroughly written. This great lady of free jazz recently changed her ways, leaving free improv for a style closer to the neo-romantic vein of contemporary classic. In her introduction, she announced she¹d be playing a few structured improvisations, plus a few compositions, depending on time. Has she been instructed to play until Taylor becomes available?

1:15, in the car, heading back home

One must see and hear the living legends in order to evaluate if they still deserve their title. In Cecil Taylor's case, there is no possible doubt. Here¹s my magical moment for this year¹s festival. He made us wait, we even feared at one point he wouldn¹t show up, but it was worth it. Oh yes! An excellent pianist, an artist from head to toe, Taylor dazzled everyone in the audience. He even included a poetry number. So I am satisfied but exhausted. Now let¹s go home and digest all this music.

Conclusion

The 2000 edition of the FIMAV can be summed up to the following: more high quality shows, but fewer striking ones. On the other hand, fewer under-average acts and empty moments than last year. If it hadn¹t been for the slow start (the festival didn¹t take off until Friday evening), this 17th FIMAV might have made history. Here are my favorites and the ones I¹ll try to forget:

Outstanding moments: The most outstanding act is definitely the Grand Orchestre d¹Avatar. Stunning. Following closely are Bob Ostertag, the Konk Pack trio, Ossatura, Palinckx and Cecil Taylor.

Very good, but not transcendent were Papa Boa, Kimmo Pohjonen, the Mari Kimura -- Roberto Morales Manzanares duo and the Frith -- Sclavis -- Drouet trio.

Shows to forget: the Vertrek Ensemble, the Paul Cram Orchestra and Jean Derome.

Disappointments: the Ken Vandermark 5 (too soft), Pierre Dumont (could have been better) and the Willem Breuker Kollektief -- not because of the performance they gave, but because of the one they could not give.

Surprises and discoveries: once again, Avatar stands out, with Roberto Morales Manzanares, Jean-Pierre Drouet and Ossatura.

Finally, a few recommendations for next year:

This year¹s FIMAV lacked avant-rock acts. Comes midnight, we need the extra decibels. And the rock format gives us something to grasp onto. More avant-garde rock next year, please.

It's time for the FIMAV to invite artists from the Austrian scene: Werner Dafeldecker, Christof Kurzmann, Christian Fennesz, Martin Siewert, Uli Fussenegger, Comforts of Madness, etc.

Gregg Bendian just released a great record with his band Interzone. The FIMAV should jump on him for next year.

A few listening suggestions for the adventurous ears:

• AVATAR COLLECTIVE / Compost and Compost II (Éditions OHM / Avatar)
• KONK PACK / Big Deep (Grob Records)
• OSSATURA + TIM HODGKINSON / Dentro (ReR Records)
• PAPA BOA / Tête à queue (Ambiances magnétiques)
• MARI KIMURA - ROBERTO MORALES MANZANARES / Leyendas (Disques Victo)
• DAVID THOMAS / Mirror Man (Cooking Vinyl / Thirsty Ear)
• THE VANDERMARK 5 / Simpatico (Atavistic)

There, I hope this diary depicted the FIMAV experience. Despite the disappointments and criticism, it remains one of the most varied and best organized events on the east coast -- and in an almost pastoral setting, to boot. It's an unforgettable experience each and every year.