Trombonist, composer, and bandleader Claude St-Jean is component of a era of performers who emerged in the Montréal creative music picture in the mid-’90s, in the wake of previous musicians such as for example Jean Derome, René Lussier, André Duchesne, and Robert Marcel Lepage, who had begun saving in the Ambiances Magnétiques label in the ’80s. St-Jean spent some time working with several Montréal and Québec performers, including Diesel, Marie et Ses Quatre Maris, Trafic D’Influence, and David Working, but produced his initial big splash being a bandleader with L’Orkestre des Pas Perdus, an organization he founded in 1993. The choice brass music group released its debut documenting, T’Auras Pas Ta Pomme, on Ambiances Magnétiques in 1996. From that preliminary CD, it had been very clear that St-Jean was completely in step using the daring nature of Montréal’s experimental “musique actuelle” picture, but was also out for a rollicking great period, composing and getting a group of concise, punchy brass music group tracks driven from the insistent groove of drummer Rémi Leclerc as well as the pumping sousaphone of Jean Sabourin. Nevertheless, L’Orkestre des Pas Perdus had not been St-Jean’s only music group as a innovator; the entire year of T’Auras Pas Ta Pomme’s launch, the trombonist created Les Projectionnistes, a harder-edged ensemble that maintained L’Orkestre des Pas Perdus’ propulsive momentum and memorable graphs but added a dosage of electrical rock energy, thanks a lot in large component to the current presence of electrical guitarist Bernard Falaise. Furthermore to its densely obtained shorter music, Les Projectionnistes performed live improvisations along with traditional silent movies at Montréal’s Usine C Theater with the Montréal and Toronto Jazz Celebrations; both varieties of music could be heard around the band’s debut Ambiances Magnétiques documenting, Copie Zéro, released in 1999. In the mean time, St-Jean was staying busy as innovator of L’Orkestre des Pas Perdus, which released its second Compact disc, Maison Douce Maison, once again on Ambiances Magnétiques, in 1998. Although no electrical instruments can be found on Maison Douce Maison, the recording is a lot more funked up and punchy than T’Auras Pas Ta Pomme, as though a little bit of the Les Projectionnistes vibe experienced found its method into the documenting. Both L’Orkestre des Pas Perdus and Les Projectionnistes managed fairly active live show schedules in the past due ’90s and early 2000s, showing up in concert with celebrations in Québec, throughout Canada, and sometimes in america and European countries. In nov 2001, Les Projectionnistes toured across THE UNITED STATES, performing a fresh system of St-Jean compositions entitled Naive Music and Additional Paradoxes.