Napalm Jazz, Alexandre St-Onge, Martin Tétreault
Live (July 2002)
Featuring A_dontigny, Érick d’Orion
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Annexe (2002) NTA 007
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A harsh and no holds barred session by four uncompromising improvisers with Alexandre St-Onge, Martin Tétreault, Érick D’Orion and A_dontigny. Live at the Casa del Popolo, July 2002.
For almost 10 years, the québécois collective Napalm Jazz gets its hands dirty with its unorthodox approaches to improv. Ever since its beginnings at CKIA radio (Québec City) where the group performed every Sunday, their work has sprouted plenty of projects such as morceaux_de_machines. → Full bio
Alexandre St-Onge is a human being, a 33-year old man, a composer, a bass player, and improviser. He has studied literature and philosophy as well, although he likes animals, his friends, Fanny and the material world more than anything else (is there anything else?). He has released six solo CDs: Joseph Carey Merrick (Oral), Mon animal est possible (Alien8 Recordings), L’amitié ou les rumeurs insoutenables du désir (Squint Fucker Press), kasi naigo (Squint Fucker Press), Une mâchoire et deux trous (Namskéio Records), Image/négation (Alien8 Recordings). He also plays in quite a few bands, including Shalabi Effect, K.A.N.T.N.A.G.A.N.O., mineminemine, Et Sans (with Roger Tellier-Craig), Klaxon Gueule (with Michel F Côté and Bernard Falaise). As a composer he has worked for interactive/mixed-media company Kondition Pluriel, as well as composing for dance (for Karine Denault, Lynda Gaudreau, Maryse Poulin, Mariko Tanabe and Marie-Claude Poulin), theater and video. → Full bio
Martin Tétreault, an internationally-renowned Montréal DJ and improviser, originally came from the milieu of the visual arts. His path has been marked out by various productions on compact disc and live performances with a range of collaborators: Diane Labrosse, René Lussier, Jean Derome, Michel F Côté, I8U, Otomo Yoshihide, Kevin Drumm, Xavier Charles, Ikue Mori, and many more. He has abandoned the musical citation that he had been using in his work since he began in 1985 and now explores the intrinsic qualities of the turntable: the sound of the motor, of interference, and so on. He also uses needles, prepared surfaces (with thanks to John Cage), and small electronic instruments. The bruitiste approach of remaining analogical has allowed him to leave behind the question “But what about copyright?” and to get himself invited to electronic music events! When he feels the need for a break from music, he goes back to the visual arts, where he sands, scrapes, cuts up books and magazines, and so on. → Full bio
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