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Jean Derome et les Dangereux Zhoms

In the mid-’90s, Jean Derome et les Dangereux Zhoms was Montreal saxophonist Jean Derome’s perfect task. The group released three albums from 1994 to 1998. Although actions later slowed up, the group continuing to perform all over the world; in the Ambiances Magnétiques roster it stood as the utmost popular act overseas. The entire year 1992 was an excellent one for Jean Derome. He documented the ultimate (and greatest) recording by his duo Les Granules with René Lussier as well as the 1st by his trio Évidence, among a great many other tasks including music for dance and theatre. He was touring constantly and started to maintain a travel journal where he jotted down musical impressions. It seemed to him that “street music” screamed to get a band of its. Drawing from most of his actions, he come up with Jean Derome et les Dangereux Zhoms (“Jean Derome as well as the Harmful Guyz,” to get the intentional misspelling within the last term). The group, conceived like a street band similar to the music, contains the avant-garde jazz trio Évidence (Derome, bassist Pierre Cartier, and drummer Pierre Tanguay), plus Les Granules (guitarist Lussier), plus two of Derome’s regular sidemen, trombonist Tom Walsh and keyboardist Guillaume Dostaler. Because of this device, Derome penned a repertoire of items that mix avant jazz, avant rock and roll, and free of charge improv, concentrating on jazz stylings Évidence produced from Thelonious Monk, the saxophonist’s idiosyncratic contrapuntal composing, as well as the warped stage laughter that was the brand of Les Granules. They gave one hell of the dynamite present. Les Dangereux Zhoms produced their live premiere starting the tenth annual Celebration International de Musique Actuelle de Victoriaville (FIMAV) in Victoriaville, Quebec in Oct 1992, and begun to perform in Montreal as well as the East Coastline. A first Compact disc, Carnets de Voyage (Travel Diaries) was documented and released in 1994. Navré arrived a year afterwards. The group continuing to tour thoroughly in america, and shortly in Europe as well. By the finish of 1997, tensions between Derome and Lussier got reached new levels and both parted methods after 2 decades of close cooperation. The group was placed on hiatus and Derome created a live record from tapes documented on the Théâtre la Chapelle in Montréal in Feb 1996. Torticolis premiered in 1998 as well as the three Dangereux Zhoms CDs had been packaged jointly as the container established 1994-96. The section was closed…roughly it seemed. In 1999, Derome reactivated the machine, minus Lussier. Regional performances had been infrequent and limited by special occasions (such as a two-week Derome residency/retrospective at the same Théâtre La Chapelle in 2000), however the group still performed frequently outside Montréal and made an appearance at jazz celebrations in Guelph and Vancouver, on the 2001 RingRing celebration in the Czech Republic, with the 2002 Edgefest in Ann Arbor, Michigan in america. In 2007, Jean Derome et les Dangereux Zhoms had been back again with another record on Ambiances Magnétiques, the properly titled TO KEEP, and the next 12 months the group was asked to open up the 25th wedding anniversary of FIMAV. For the event, the five-piece primary music group (Derome, Tanguay, Cartier, Walsh, Dostaler) was augmented by seven visitor artists from your AM roster and Montreal musique actuelle picture: vocalist Joane Hétu, guitarist Bernard Falaise (of Miriodor), turntablist Martin Tétreault, clarinetist Lori Freedman, violist Jean René, violinist Nadia Francavilla, and trumpeter Gordon Allen. The prolonged ensemble performed two extended suites made up by Derome — with a lot of idiosyncratic constructions and improvising possibilities, obviously — as well as the concert was recorded around the recording Plates-Formes et Traquenards, released from the Victo label in ’09 2009. Les Dangereux Zhoms (in cases like this Derome, Tanguay, Cartier, and Dostaler with guests Olivier Maranda [marimba, percussion] and Ellwood Epps [trumpet]) also made an appearance on Derome’s 2015 modern classical recording Musiques de Chambres, 1992-2012, carrying out his 1992 structure “Cinq Études Pour Numbers.”

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