MICHEL NORMANDEAU

The smooth and folk beginning, with the acoustic guitar, grows with the gentle inclusion of other instruments. The vocals, in French, are exquisite. In fact, this is the case throughout the entire album. Some changes of time signatures occurs, a swing on the bass, and some brief but inspired interventions on clarinet and flute complete this music.

On the next song, acoustic guitar becomes even more lyrical, and bass delivers great melodies. Along with the singing, now there are some vocalizations. An immersive guitar, on the symphonic vein, closes the track.

Rhythmic sections on the first half of the third track are a bit simple. When the guitar gets along, significant changes happens. The musical combinations become more inventive. And on the end, the drums improve a creative march, and caddence is more accelerated.

A magnificent classical piano is developed on the following track.

Clarinet and acoustic guitar make an incredible dialogue on the opening of side B. Suddenly they give place to the piano, this time with some jazzy executions. And after that there's this fantastic piano solo.

6th song gives its name to the album. The entrance has a very strong pop approach. I like it, because of its tasty swing, and once again vocals are strong and complex. They switch harmonies, more to its middle, but keeping one foot on pop-prog. Piano has some cozy rhythyms.

Next track is one of the greatest discovers I made, in recent years, on progressive rock. "L'air de Rien" is outstanding, marvelous. The long introduction on the piano could be easily credited to some of the best acoustic stuff from Rick Wakeman. The other instruments seem to ask the most respectful excuse, very carefully, in order to enter on the composition. When the vocals come along the apotheosis is complete. Spectacular bass, and all the rest grows in intensity. Note 100/100.

The last track is very short, mainly structured around the accordion. It has a bit of a circus mood, and also a melancholic atmosphere.

I enjoy the whole album, and to me ir deserves a 4.1 rating.

In 1976 Michel Normandeau parted ways with Serge Fiori and the Harmonium project. That did not mean he was done with music just yet. In 1979 he released what would turn out to be be his only solo album - Jouer. On the album, you'll be happy to find guest contributions by the ex-Harmonium members Pierre Daigneault (sax) and Serge Locat (keys, mainly synths). Now let's talk about the contents. Jouer is one of those albums that instantly transport you to a different place. The pastoral, romantic and sappy sound takes you for a walk through snowy, abandoned streets of a French town, while delicate timbres of the the acoustic guitar and the accordion paint a picture full of bittersweet nostalgic landscapes, sometimes bursting into lively jazzy choruses full of hope, while other times becoming darker, more intimate, stripped down to just the grand piano. Normandeau's vocal work is really great and even though I don't speak French, I buy the vibe mainly due to his genuine and soulful delivery. The guitar work on Jouer is astonishingly beautiful, and the virtuoso level piano/e-piano work provided by Michel Normandeau and company creates that unmistakable folk/fusion atmosphere. Other instruments serve as kind of a "sonic spice" that elevates the album's tracks to great heights. They never really take control of the arrangement, driving it out of balance, but rather stay in the perfect spot in the background. Jouer manages to sound super familiar to a Harmonium fan's ear while at the same time being more laid-back and playful, bringing forward Michel Normandeau's ideas, which to be frank, I really wish there was more of on L'Heptade.

I highly recommend this album.