Les Projectionnistes

Montréal trombonist, composer, and bandleader Claude St-Jean was primarily known as the first choice of rollicking option brass music group L’Orkestre des Pas Perdus when he shaped Les Projectionnistes in 1996. A harder-edged ensemble that maintained L’Orkestre des Pas Perdus’ propulsive momentum and unforgettable graphs, Les Projectionnistes added a dosage of electrical rock energy, thanks a lot in large component to the current presence of electrical guitarist Bernard Falaise of Miriodor, a increasing star around the Montréal avant music picture. Soon after its inception, Les Projectionnistes started playing St-Jean’s compositions in accompaniment to silent movies and slides, and was asked by Cinématheque Québecoise to execute live improvisations along with traditional silent movies at Rencontres de Musique Actuelle at Montréal’s Usine C Theater. Live music and silent film displays were subsequently offered by the music group in the Montréal and Toronto Jazz Celebrations in 1997. Les Projectionnistes discovered itself developing two units of repertoire: compositions from your band’s earliest times and pieces created from its improvisational forays associated the silent movies of directors like Fritz Lang, Guy Ray, and Marcel Duchamps. This dichotomy is very much indeed in proof on Les Projectionnistes’ debut Ambiances Magnétiques documenting, Copie Zéro, released in 1999; the Compact disc is comprised primarily of four- to seven-minute items, many penned by St-Jean, that blend brass music group, avant-jazz, and hard rock and roll stylings, but addititionally there is an 11-and-one-half-minute monitor, recorded reside in 1997 in the Usine C as the music group improvised its accompaniment to a 1924 surrealist film by Fernand Léger. Les Projectionnistes managed a fairly energetic live performance plan in the past due ’90s and early 2000s. In nov 2001, the music group hit the street to perform a fresh plan of St-Jean compositions entitled Naive Music and Various other Paradoxes, with shows across Canada and in Ann Arbor, MI. A protracted Les Projectionnistes ensemble, offering the primary quintet (St-Jean, Falaise, drummer Rémi Leclerc, saxophonist/flutist Pierre Labbé, and bassist Tommy Babin) supplemented by sousaphonist Jean Sabourin and saxophonist Roberto Murray from L’Orkestre des Pas Perdus, was convened to understand St-Jean’s newest compositional result.