Marie-Véronique Bourque and Christine Tassan share Bruissement boréal

Jenna Melanson·May 27, 2025

Marie-Véronique Bourque and Christine Tassan Celebrate the Sounds of Nature on New Album, Bruissement boréal

When two of Canada’s most accomplished jazz artists—flutist Marie-Véronique Bourque and guitarist Christine Tassan—joined creative forces across nearly 3,000 kilometers of forest, plain, and screen time, the result was more than music. It was a shared call and response with nature itself. Their collaborative album Bruissement boréal (“Northern Rustle”), out now, is an ambitious 13-track journey inspired by the natural soundscapes of Quebec and Saskatchewan, blending jazz, Latin, classical, folk, and ambient textures with the rustle of leaves, frog croaks, and the faint chirps of grasshoppers.

Joined by double bassist David Meunier-Roy and drummer/percussionist Olivier Bussières, the quartet captures the quiet power of a northern breeze and the rhythmic chatter of prairie creatures in a project that is equal parts jazz record and ecological tribute. The album’s first single, “Bruissements,” was released on April 17, and its lyrical, sonic sibling, “Là où les vagues sont d’or,” followed on May 2, with the full album launched live on May 16 at Le Ministère in Montreal.

Bruissement boréal began as a three-day daring challenge: five original compositions written in five hours by each artist, done simultaneously but remotely, with only the natural sound recordings they collected as creative prompts. “We’d each capture bird calls, rustling trees, frogs, or waves with just a phone, and then compose from that moment of listening,” says Bourque. “That’s how you get a track like ‘Le train de la première heure’—where the flute literally mimics a prairie train whistle—or ‘Dialogue entre sauterelles’ where the grasshoppers seem to chirp in harmony with the melody.”

The duo’s chemistry emerged long before the first track was recorded. Introduced by folk legend Michel Lalonde of Garolou, the pair bonded over a shared musical sensibility and love of nature.

“After a show in Regina, I invited Marie-Véronique onstage,” recalls Tassan. “Backstage I said, ‘We really should do something together.’ A few months later, we were already dreaming up Bruissement boréal”.

Tracks like “Ça croasse en masse,” with its funky frog solos, and “Les rayons de l’automne,” a reggae-swing ode to a sun-dappled forest bike ride, showcase the group’s playful sophistication. Though both “Rainettes dans la nuit” and “Aurore boréale” are inspired by the night, they diverge completely in tone and style. “Aurore boréale” is a meditative piece, evoking the vast, silent beauty of northern skies. In contrast, “Rainettes dans la nuit” is a joyful samba, representing a groovy reunion of frogs at a pond under the stars—where rhythm and celebration take center stage.

Recorded at Studios Opus and engineered by Steeve St-Pierre, the album glistens with clarity and nuance. “We had to battle a 70 cm snowstorm to even get to the studio,” Bourque laughs, “but the vibe inside was pure creative flow. Steeve didn’t just engineer—he shaped the album’s sonic signature.” The album’s visual design was created by Bourque and Marc Guevarra, with photography by Sylviane Robini, completing the immersive aesthetic.

Marie-Véronique Bourque, a semifinalist in the 2024 International Songwriting Competition, brings her textured flute tones and nuanced vocals to the forefront. Christine Tassan, a genre-defying guitarist with Juno, ADISQ, and OPUS nominations, counters with a melodic clarity honed from years leading her Gypsy jazz band Christine Tassan et les Imposteures. Together, they honor the quiet drama of their landscapes—and remind us of our place within them.

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