"Jean Derome. Born Montréal, Québec, 1955. esidence: Montréal, Québec. Composer, Performer (saxophones (alto, baritone, soprano), flutes (flute, bass flute, piccolo, alto flute, recorders), keyboards, small wind instruments (ocarinas, jew's harp, game calls, toys...), percussion, invented instruments, voice)

One of the most active and eclectic musicians on the Canadian creative music scene, Jean Derome has managed to earn the recognition of a larger public, a rare feat in that field. Thanks to his large-scale musique actuelle projects, his compositions, his work as an improviser, his jazz groups and his music for the screen and the stage, Derome ranks as a major creative force, in Québec and abroad. He is experienced and innovative on both saxophone and flute, and his unique writing style cannot be mistaken for anyone else's. Sensitive and powerful, his music often features a funny strike that makes its complex nature more inviting.

Ever since Nébu (one of Québec's first avant-garde jazz groups) in the early '70s, Derome has been consistently renewing and diversifying his approach of composition. He impressed audience and critics first with the flute, then with the saxophone, as a lead character in the musique actuelle underground. He took part to the various artists' collectives looking for new ways to express themselves freely, without esthetic or social constraints, including the Ensemble de musique improvisée de Montréal. Later, in the early '80s, he co-founded Ambiances Magnétiques, a collective and record label that raised his profile at home and introduced his name to the outside world. Among his numerous projects, let us mention the duos Les Granules, Nous perçons les oreilles and Plinc! Plonc!, the dynamic group Jean Derome et les Dangereux Zhoms, and the large-scale projects Confitures de gagaku, Je me souviens - Hommage à Georges Perec and Canot-camping. Most of these projects are based on a unique form of synergy between composition, structured improvisation and genuine creative madness, all this articulated with unmatched playfulness. In 1992, Derome became the second artist to be presented with the Freddie Stone Award (bassist Lisle Ellis was the first).

Besides improvising on a regular basis with Ambiances Magnétiques' members and appearing in their projects, Derome has also shared the stage with several musicians of international stature, among others Fred Frith, Lars Hollmer, Louis Sclavis and Han Bennink. He performs regularly all over Canada, in the US and in Europe. He received a Prix Opus in 2001 for his exposure abroad.

Lately, jazz circles have been praising his undisputable qualities as a jazzman, thanks to the Thelonious Monk tribute project Évidence, the Normand Guilbeault Ensemble (whose Mingus Erectus CD is devoted to Charles Mingus' music), and the much-lauded Derome Guilbeault Tanguay Trio.

Although Jean Derome writes tirelessly for his own projects, he is much in demand in the fields of film, theatre and dance. A short list of this side of his work would have to include his numerous scores for the National Film Board of Canada (NFB), especially for films by John Walker, Jacques Leduc, Fernand Bélanger and animated films by Pierre Hébert, Michèle Cournoyer and Jean Detheux; his incidental music for Théâtre UBU, Théâtre de Quat'Sous and Théâtre du Nouveau Monde; not forgetting his work with several top choreographers, including Louise Bédard, Andrew de Lotbinière Harwood, Daniel Soulières and Ginette Laurin. Other music ensembles have commissioned works from him, including Tuyo, Bradyworks, the Hard Rubber Orchestra from Vancouver and Fanfare Pourpour. Incidentally, Derome is the musical director of the latter.

Over thirty years of music and 70 record credits later, Jean Derome still has sleeves bursting with tricks."

"Ikue Mori moved from her native city of Tokyo to New York in 1977. She started playing drums and soon formed the seminal NO WAVE band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. DNA enjoyed legendary cult status, while creating a new brand of radical rhythms and dissonant sounds; forever altering the face of rock music.

In the mid 80's Ikue started in employ drum machines in the unlikely context of improvised music. While limited to the standard technology provided by the drum machine, she has never the less forged her own highly sensitive signature style. Through out in 90's She has subsequently collaborated with numerous improvisors throughout the US, Europe, and Asia, while continuing to produce and record her own music. 1998, She was invited to perform with Ensemble Modern as the soloist along with Zeena Parkins, and composer Fred Frith, also "One hundred Aspects of the Moon" commissioned by Roulette/Mary Flagler Cary Charitable Trust. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 99.

In 2000 Ikue started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. 2000 commissioned by the KITCHEN ensemble, wrote and premired the piece "Aphorism" also awarded Civitella Ranieri Foundation Fellowship. 2003 commissioned by RELACHE Ensemble to write a piece for film In the Street and premired in Philadelphia. Started working with visual played by the music since 2004. In 2005 Awarded Alphert/Ucross Residency.

Ikue received a grant from the Foundation for Contemporary Arts in 2006. In 2007 the Tate Modern commissioned Ikue to create a live sound track for screenings of Maya Deren's silent films. In 2008 Ikue celebrated her 30th year in NY and performed at the Japan Society. Recent commissioners include the Montalvo Arts Center and SWR German radio program and Shajah Art foundation in UAE. Current working groups include MEPHISTA with Sylvie Courvoisier and Susie Ibarra, PHANTOM ORCHARD with Zeena Parkins, project with Koichi Makigami and various ensembles of John Zorn. New duo Twindrums project with YoshimiO　 workshop/lecture in various schools include University of Gothenburg, Dartmouth Collage, New England Conservatory, Mills Collage, Stanford University, The School of the Art Institute of Chicago"

"Initially a radio character, drummer, and composer, Michel F. Côté became a member of the collective Ambiances Magnétiques in 1988. Since that time, his activities have got encompassed free of charge improvisation along with his groupings Bruire and Klaxon Gueule, sound-art collaborations with Diane Labrosse and Christof Migone, and composing for dance, movie theater, and film. Côté was raised with rock and roll, admiring drummers like Led Zeppelin's powerhouse John Bonham and Yes/Ruler Crimson's man-of-finesse Costs Bruford. But he initial got into the music globe through radio, starting to transmit programs of innovative music in the first '80s at Montreal's community place, CIBL. In 1985, he begun to are a researcher and web host for "Chants Magnétiques" and afterwards "Musique Actuelle" at Radio-Canada, Canada's nationwide francophone radio. A music buff, he sucked in a huge selection of noises and affects, developing his drumming abilities but most of all his studio appearance. In 1988, Côté became the 8th person in Ambiances Magnétiques and documented his first recording beneath the name Bruire. An clothing of unpredictable geometry centered across the drummer, Bruire reinvented itself with each recording. Côté's evolution like a musician could be witnessed through the deconstructed pop tracks of Le Barman A Tort de Sourire (1989) towards the sensitive miniatures of Les Fleurs de Léo (1992) as well as the abstract improvised compositions on L'Âme de l'Objet (1995), a focus on in his discography. In the meantime, Côté started to create incidental music for theatre, dance, and film. This facet of his function quickly became probably the most time-consuming and commercially, aswell as artistically, practical, though it intended employed in the shadows. Since 1995 he is a regular collaborator of playwright/filmmaker Robert Lepage, composing and carrying out the music for the play Les Sept Branches de la Rivière Ota, carrying out in the theatrical cabaret Zulu Period, and composing as well as Bernard Falaise the music of his film Nô. The drummer also caused the dance troupe Carbone 14, and playwrights Wajdi Mouawad and Brigitte Haentjens. The single recording Compil Zouave culls excerpts from these different ratings. In the past due '90s, Côté created a pastime in live consumer electronics and shifted his music toward freer and more-textural pastures. A cooperation with sound designer and Avatar member Christof Migone (Vex, 1998) activated an exploration of the electro-acoustic improvisation that created in Austria and Germany at the same. This fresh vision is recorded on Muets, the next recording by his trio Klaxon Gueule (with Falaise and Alexandre St-Onge)."

"René Lussier (born April 15, 1957) is a musician based in Quebec, Canada. He is a composer, guitarist, bass guitarist, percussionist, bass clarinetist, and singer. Lussier has collaborated with such figures as Fred Frith, Chris Cutler, Jean Derome and Robert M. Lepage. His work, which combines elements from all major genres, is often referred to within the discourse of New Music, or Musiques Actuelles, in French.

Born in Montreal, Lussier began his musical career in 1973 in Chambly as part of the progressive rock group Arpège. From 1976 to 1980, he was a member of the Montreal folk-progressive group Conventum, led by André Duchesne. Lussier was also a member of the groups Quatour de l'Emmieux and les Reins, Nébu and La G.U.M in the late 1970s and early 1980s. In 1986 he joined Duchesne's Les 4 Guitaristes de l'Apocalypso-Bar.

He began doing soundtrack work in 1979, via a collaboration with Duchesne on the music for a short film called Tanobe. Lussier has written or co-written the scores to more than 35 films, including Chronique d'un génocide annoncé, a documentary by Danièle Lacourse and Yvan Patry about the Rwandan genocide.

Lussier played guitar for the popular singer Pauline Julien between 1982 and 1984, though he also worked on esoteric music that blurred distinctions between progressive rock, jazz, improvisation, modern composition, and circus music. His first solo album, Fin du travail (version I), was released in 1983 and consolidated his reputation as a quirky, humorous and talented guitarist-composer. He has collaborated extensively with Derome and Lepage and has recorded as a member of the Fred Frith Guitar Quartet. Lussier is featured prominently in Step Across the Border (1990), a documentary feature film by Nicolas Humbert and Werner Penzel about the work and travels of Frith. Lussier was also a member of Frith's band Keep the Dog (1989-1991).

In 1983, Lussier co-founded the Ambiances Magnétiques record label and recording collective with Derome, Lepage and Duchesne, and produced an extensive body of work in this environment. His best known work, Le trésor de la langue (1989), was created during this period. The album interspersed music with taped recordings of Quebec residents discussing the importance of the French language. It won the Grand Prix Paul-Gilson award in 1989.

In the late 1990s, Lussier recorded two albums for solo guitar and a pair of collaborations with Martin Tétreault which reflected an interest in the history of musique concrète and electroacoustic music composition and theory."

"Diane Labrosse. Born Montréal, Québec, 1950. Residence: Montréal, Québec. Composer, Performer (sampler, accordion, voice).

Working mainly with electronic samplers, Diane Labrosse has a very personnal approach to sounds, exploring different textures and timbres and creating an abstract but evocative music. She is a regular on several different music scenes and has performed at internationally known festivals of musique actuelle, electronic, avant-garde and improvised music all over the world (Canada, USA, Europe, Japan, Australia).

Her most recent projects take different forms: Endangered Species, a sound and visual installation/performance based on obsolete objects such as rotary dial phones and ticking alarmclocks; Dactylotactiles, performance for 3 typewriters and live video (Sébastien Cliche); Petit Bestiaire, naïve songs for a quintet (texts by Guy Marchamps); Sagesse pratique, a series of miniature pieces based on proverbs and O.V.N.I., a sign language for an improvising orchestra of variable sizes.

As a composer, using conventionnal or graphic scores, she wrote for many different ensembles: Array Music and The Burdocks (Toronto), L'Ensemble SuperMusique and Espaces Sonores Illimités (Montréal), NOW Orchestra and 999 years of Music, (Vancouver). She also wrote for less conventionnal instruments, such as ship horns (Harbour Symphonies), train whistles, air bottles and toy pianos. She worked with director Robert Lepage and co-signed (with percussionist Michel F Côté) the music for two of his plays: La Géométrie des miracles and Zulu Time.

As sound designer, she created music for dance (Louise Bédard, Crystal Pite, Andrew Harwood, Marc Boivin, Deborah Dunn, Catherine Tardif, Harold Rhéaume, Richard Siegal), film (Montréal vu par..., Pendant que les arbres tombent, L'Entrevue, Plan de fuite) and radio (Le Navire Night, Les Décrocheurs d'étoiles) and theatre (Nuit d'orage, Je suis d'un would-be pays, Bliss, 38 Contes shakespiriens...).

She has created multimedia installations for Danish company Tura-ya-moya (in situ performances in an old chalk mine), and Scottish-based Theatre Cryptic (Wall of Secrets in situ installation for 20 speakers) as well as the Centre de Musique Canadienne (a sound garden playing ramdom sound tracks on surround speakers).

In 1980, she founded Productions SuperMémé/SuperMusique with Joane Hétu and Danielle P Roger. She remained Co-Artistic Director of this company presenting many concerts and events of innovative music from 1980 to 2008. With long-time colleagues Hétu and Roger she created the groups Wondeur Brass, Justine, and Les Poules. She collaborated with many musicians such as Jean Derome, Pierre Tanguay, Michel F Côté, Martin Tétreault, Ikue Mori, Philippe Lauzier.

Her discography comprises more than 50 recordings mostly recorded on Montreal based label Ambiances Magnétiques. She has received several grants from Canada Arts Council as well as Conseil des arts et des lettres du Québec."