Tim Brady reviews
"First 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 Les Paul.
Opening 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 their arrival."
Gwenda Nemeroksky - Winnipeg Free Press - Feb. 2010
"Bradyworks' 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 tour-de-fource performance."
Stephen Pedersen - Halifax Chronicle-Herald - Oct. 2009
"Composer/guitarist 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 work."
Stuart Broomer - Musicworks - Winter 2009
"Technically 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.
John Kelman - AllAboutJazz.com - May 2008
"Chamber 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 (Bethune)."
Arthur Kaptainis - The Montreal Gazette - Oct. 2006