- "Si vous n'achètez qu'un disc compact
de musique contemporaine cette année, achètez
Atacama: Symphonie #3 de Tim Brady!"
Fréderic Lambert - Radio-Canada - première chaîne -
"Medium large" - 2013
- "Brady has a distinctive musical language
and he can enchant us with his expertise both as a
guitarist and a composer...(he) is an extraordinarily
talented guitarist and these compositions (24 Frames)
show his amazing ability to play in a variety of
styles. These are fascinating experiments in musical
sound and I think a great many people will want
to hear them."
Maria Nockin - Fanfare Magazine - 2012
"Brady's 13 excerpts from his recent work 24 Frames
sometimes sounded like a cluster of guitarists,
but there was only one onstage - the composer, who is also a
monster soloist. His nimble-fingered
virtuosity was a big part of these systematic
adventures for electric guitar, with and without digital
delays, unusual tunings and video imagery."
Robert Everett-Green - Globe and Mail - 2011
up was guitarist extraordinaire Tim Brady in
a spotlit solo performed on the steps at the front of the
stage. Red Melisma was wistfully bluesy and
virtuosic. Full of unusual and fancy fretwork, it showcased Brady’s
amazing abilities on the instrument. Amplify,
Multiply, Remix and Redefine by Brady enlisted the
talents of 21 electric guitarists...The work paid
homage to the life and work of the late legendary guitarist
with the gentlest of strumming, the work washed in sounds much
like wind chimes blowing in the breeze. Brady as
soloist, gave a virtual clinic on the instrument showing its
unbelievable versatility. He is a guitar lovers delight,
seemingly capable of anything. Intriguing bent
notes and impressive riffs were but a few techniques
demonstrated. Solid orchestration set a rather galactic mood,
with strings sweeping like stars and brass loudly announcing
Nemeroksky - Winnipeg Free Press - Feb. 2010
guitarist Tim Brady used extensive
technology to become exuberant one-man ensembles,
each accompanied by video projections."
Smith - New York Times - June 2010
take on the 20th-century was a stunning tour de force.
The continuous flow of video images streaming across the back
wall behind the band amid the unrelenting stream of notes
stunned the Radio Room audience into an amazed silence. The
music completely filled the mind, leaving no room for stray
thoughts or the least urge to daydream. It was
high-enery stuff. The shock came from the stunning
unison playing at high-speed of notes well oustisde the usual
scale and argeggios...These phrases were angular, syncopated,
metrically irregular, articulated by eccentric accents and
powerful enough to elevate your pulse. It was a
Pedersen - Halifax Chronicle-Herald - Oct. 2009
Tim Brady presented a strong program of recent works...As
Messier's imagery developed, he used unexpected permutations
of color to create a kind of equilibrium between suggestions
of water and fire, a brilliant equivilant to Brady's guitar
Broomer - Musicworks - Winter 2009
staggering, Brady's control of a wealth of
sound-processing devices allows him to expand the sound of
one guitar into a very large soundscape. His
layering of delay and oscillation, during the first
composition of the performance, allowed what was initially a
very small group of notes played with a relentlessly rapid
tremolo (up-and-down picking) to evolve almost
imperceptibly. Effects that generated no small amount of
noise made the piece more about texture than tonality, even
as he expanded the piece away from those initial few
notes...his “Double Quartet (Hommage a Shostakovich),” on
which Brady was joined by his Bradyworks group—saxophonist
Andre Leroux, percussionist Catherine Meunier, sampler David
Kronkite and Brigitte Poulin—that was both
the performance's longest piece and its highlight.
Kelman - AllAboutJazz.com - May 2008
opera's music and video evocative: Tim Brady, our
prince of accessible avant garde, is determined to
keep his 2003 chamber opera "Three Cities in the Life of Dr.
Norman Bethune" in circulation....unlike most
self-proclaimed polystylists, this Montreal composer sounds
coherent, not confused, as he draws on different resources.
Sustaining interest with one character is difficult, but
Brady managed by combining Broadway declamation in the vocal
part with a varied instrumental backdrop that often felt
animated by the rhythmic spirit of bebop. The score
expressed the impassioned lonliness of the character
Arthur Kaptainis - The Montreal Gazette - Oct. 2006
Bradyworks on tour: Deeply personal performances of
solo pieces were the night's highlights, and began early in
the concert. Brady slapped, popped, plucked, chorded and
pick-slid through his own composition...displayed his
extensive guitar technique, never failing to provide the
audience with a new trick. ...A virtuosic performance of
captivating improvisations and deep explorations into
Eric Lehman - Musicworks Magazine #92 - Summer 2005
"The Salome Dancer
..a very special feature of a particularly outstanding Open
Ears Festival. A major multimedia production (music by
Tim Brady and libretto by John Sobol), the opera provided a
visceral tour through the interweaving fates and aspirations
of a dancer (Tamara Hummel), a preacher (Terence Mierau), a
reporter (Michael Donovan) and a cop (Ian Funk) . Superlative
casting enabled tricky multimedia elements to converge into a
mostly seamless whole....The Bradyworks Ensemble performed
expertly, given a very tricky score which alternated
between the enraged and the frenetic, to the mysterious and
sustained....Breaking the mould for innovative storytelling
and multimedia art, the audience left the theatre moved,
stirred and thought-provoked."
Stephen Preece - The Record (Waterloo, Ontario) April 2005
"...Brady is a true mad
scientist of guitar sound, placed on Earth, it seems, to
smash the barriers between high and low culture. His wild
guitar sounds are daggers in the heart of classical music
pretense...the music has a relentless drive to it
and..one has to admire the way that Brady works with Lorraine
Vaillancourt's NEM to bring out their playful side."
Mike Chamberlin / HOUR Weekly 2005 - review of CD "Playing
Guitar: Symphony #1"
"...Three Cities in the
Life of Dr. Norman Bethune...The eight
instrumentalists (including Brady), singer Donovan and
conductor Pierre Simard deserve much praise for their
clean performances - with special kudos to Philip
Hornsey's virtuosic percussion duty."
John Terauds / The Toronto Star 2005
"...la musique de Brady
n'oublie jamais qu'elle est porteuse d'une vrai charge
émotionnelle. Souplesse des compositions,
articulation collectives, sensibilits assumées, les partitions
de Brady en appelle à la quiétude de l'instant. Importe peu
alors l'orchestration choisie (une pièce pour quatuor à cordes
, 3 piéces pour sextet , une pièces pour big band) et le
contexte défini ( l'agressivité de "sound off" la plus
ancienne composition du disque, ou les turbulences contrastes
de "2 chords less than a blues") quelque chose d'apaisée perce
l'écorce d'une musique que l'on devine ouverte au monde."
ImproJazz (France) 2004 - review of CD "Unison Rituals"
"The title suite (Twenty
Quarter Inch Jacks) is a guitarist's fantasy
- composed for 20 players, but performed here solely by Brady.
Over the half-hour length he explores the sonic possibilites
of 120 vibrating strings and no small amount of feedback....the
piece is richly textured and intriguing, like a huge
maze of sound caves.
James Hale / Downbeat 2003
Tim Brady's CD "10
Collaborations" listed in "Downbeat" magazines "Best
CDs of 2001"
January 2002 issue
"Tim Brady was a very
interesting discovery. He simultaneously played in a
free and a tightly disciplined style...with astonishing
virtuosity and brilliant mastery of tone colour,
he created an elegant, flowing, often minimal music, which
developed into all kinds of dramatic and sculptural forms."
Kjeld Frandsen / Berlingske Tidende (Copenhagen) 2001
"Tim Brady's Lightning Field found the right
balance between musical gesture and shapely architecture
in a piece that relied on the virtuosity of the players as
much as on the electronic samplings that contributed
additional menace to its often savage writing."
David Vance / Sydney Morning Herald 2000
"Maybe the most interesting fact about Tim Brady...is the
consistency of his musical style. It is a brilliant
one. And he has been at it long enough to have developed
a long list of new music that works, that regularly gets
through to audiences. He communicates."
Stephen Pedersen / Halifax Chronicle-Herald 2000
de cette cantate (As It Happened de Tim
Brady)...ne peut laisser personne indifférent, non
seulement parce qu'il s'agit d'une oeuvre à contenu politique,
mais parce que l'auteur est parvenu à nous en communiquer
Camirand / Voir (Montréal) 2000
"Brady leavens the program with some virtuoso guitar
playing...Huge, swooping electronic waves shimmer and
peal like a carillon. Brady has become the leading proponent
of gaining acceptance of the electric guitar in new music and
Strange Attractors is a strong bridge between the
freedom of jazz and the structure of formal composition. ****
James Hale / Downbeat 1999
doubt anything could defeat Brady as a player. He is a
Adams / The Irish Times 1998
"Of all the talented
composers attempting to storm Symphony Hall fully
plugged, none surpasses his guitaristic insight and
compositional craft. Brady's work for solo electric
guitar, guitar and tape, and guitar with chamber and
orchestral ensembles skillfully exploits the instrument's
unique properties, eliciting colors and combinations
unprecedented in rock and classical."
Joe Gore / Guitar Player 1997
"Check out Tim Brady's brilliant new CD Scenarios.
Moving from strength to strength over a programme of six
varied works for electric guitar, live electronics and tape, Scenarios
is a masterful display of consummate
craftsmanship, striking innovation and genuine musicality."
Andrew Hurlbut / Musicworks 1995
"Revolutionary Songs was entirely convincing.
For all the song cycle's eclecticism (it) remains a remarkably
disciplined piece of writing...the Bradyworks ensemble gave it
a precise, even and altogether controlled performance."
Mark Miller / The Globe & Mail 1994
"Imaginary Guitars...otherworldly configurations
that defy both convention and belief. Astonishing!"
Joe Gore / Guitar Player Magazine 1993
"You can hear the impressive range of Brady's explorations
on his latest recording - Imaginary Guitars."
"Brady's guitar floated in an endless melody so
angular and complex, yet so calm and controlled, that I'm
eager to hear it again to calculate what made it tick. What
made it compelling was a secure sense of large scale
harmony...brought to so original a texture. Brady's putting
out so much music, so much of it good, that you're bound
to run into his name again."
Kyle Gann / The Village Voice 1991
Photo: Laurence Labat