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Pierre Pesnon-Live-Concert
Méga-Pobec Theatre, May 2001.
In my home page -under “Improvisation guitar concert”- you probably listened to the long audio clip available. Now let me offer you 4’20’’ from a 7’ video. You might like to know that when I improvise in concert I always place a watch at my feet, not for fear of playing over-time but simply because I lose track of time. This is why I decided to limit my improvisations in concert to 7-8’.
I made up this phrase “Jazz Unlimited” to qualify a specific musical and guitaristic approach. In other words I am permanently exploring the sound effects offered by the wood and the metal of my instrument, blending them with the range of techniques and styles typical of the acoustic guitar. Like a sculptor I carve into the tenderness and the hardness of those materials.
To follow the Jazz Unlimited approach and express it in concert, you need to come to terms with your “I am” and your “I play.”
Letting surprise in and refusing one’s established knowledge, this is what I like about improvisation, and about music in general. In my view playing jazz, fingerstyle, classical, rock’n’roll, or blues guitar means nothing in terms of sheer creativeness. Pushing one’s experience further, experimenting with one’s instrument like an apprentice, isn’t that the fruitful yet never-ending genesis of artistic expression?
Listening to a guitarist, in concert or on a CD, will appeal to me emotionally only if s/he manages to make me forget that s/he is –just- a guitarist. We have many fingerstyle, classical or jazz guitarists in this country, but I must say that only a handful have made me experience what I’m describing here.