Wondeur Brass

Initially a nine-piece feminist, activist, theater-and-music group, Wondeur Brass sized straight down its lineup through the entire 1980s at the same acceleration it gained knowledge and focus. Began simply because an outsider big music group of kinds, the group advanced into Montreal’s sharper avant-garde rock and roll proposal at that time, in sync using the experimental rock and roll of NY and London. The group still left two LPs, provided birth aside task Les Poules, changed in to the group Justine in 1990, & most of all, released the professions of three pillars of Montreal’s “musique actuelle” picture: Joane Hétu, Diane Labrosse, and Danielle P. Roger. Wondeur Brass’ root base are on the Duluth road in past due-’70s Montreal. A group of left-field music artists and enthusiasts had been advocating a music free from industrial dictates, music for and by individuals. An advantage event for the feminist organization offered as the catalyst for nine youthful women, all energetic in other organizations or in-between organizations, to create Wondeur Brass — the name tips at the bra producer as well as the format of the peculiar music group: all brass plus piano and drums. Influenced by free of charge jazz, punk, and fresh wave components, the group quickly come up with a first display where agit-prop and confrontational discourse performed similar parts with music — in 1980, the easy fact to be an all-girls group forced a spot across. Acclaimed by feminists, the display left others longing for better musicianship. By 1982, Wondeur Brass got well developed down its politics, added a power bass, moved nearer to rock and roll and decreased its regular membership to seven: Hétu, Labrosse, Roger, Ginette Bergeron, Claude Hamel, Martine Leclercq, and Judith Grüber-Stitzer. This lineup documented the self-released solitary “Parano,” and toured the province of Quebec. By 1985, Hamel and Leclercq had been away and trombonist Hélène Bédard is at. This sextet documented the debut LP Ravir. The group made a decision to join forces using the young boys of Ambiances Magnétiques, a lately founded collective of avant-garde music artists. Not capable of breaking from the 1st impressions they remaining for the Montreal press, Wondeur Brass was more popular overseas. In 1984, it performed in the 4th Congrès International Femmes & Musique in Paris. The Moers and Musique Actions festivals adopted in 1987, with times in NY and London in 1989. In the meantime, Chris Cutler was going for a shine towards the Ambiances Magnétiques performers and included a monitor by Wondeur Brass for the LP associated Vol. 1, No. 4 from the ReR Quarterly newspaper. The group’s second LP, Simoneda, Reine des Esclaves, arrived in 1987, having a significantly decreased lineup and a musical path much more specific. Of the initial members, just Hétu, Labrosse, and Roger had been left, joined up with by bassist Marie Trudeau. To be able to stimulate local curiosity, this same quartet transformed its name to Justine in 1990 before launching the record (collection).