Famille: Mercredimusics@Casa Obscura, 2009-2015
Joane Hétu
Les productions du collectif Ambiances Magnétiques restent fidèles à elles-mêmes et à leur éclectisme — Revue & Corrigée, France
… the subdued mysterious mood running through this album is very intriguing… — The Sound Projector, UK
The Mercredimusics @ Casa Obscura concert series is solely dedicated to, so-called, free improvisation. The series is curated by Lori Freedman, Jean Derome and myself (Joane Hétu). We take turns in creating new combinations of improvisers picked from the rich Montréal improvising musician community and joined, from time to time, by Canadian and international visitors. Each player must demonstrate a sincere and profound approach to this music plus a regular practice of improvisation. In recent years, I have recorded on two tracks many on my Mercredimusics. Famille features 14 moments extracted from those tapes and faithfull to Mercredimusics’ spirit: never the same combination of players, never any written music, always for the first and last time. (JH)
- Composer(s): Isaiah Ceccarelli, Michel F Côté, Guido Del Fabbro, Jean Derome, Éric Forget, Lori Freedman, Émilie Girard-Charest, Joane Hétu, Susanna Hood, Anne-F Jacques, David Lafrance, Philippe Lauzier, Pierre-Yves Martel, Philippe Melanson, Cléo Palacio-Quintin, Gabriel Rivest, Vergil Sharkya’, Alexandre St-Onge, Scott Thomson, Ida Toninato
- Performer(s): Isaiah Ceccarelli, Michel F Côté, Guido Del Fabbro, Jean Derome, Éric Forget, Lori Freedman, Émilie Girard-Charest, Joane Hétu, Susanna Hood, Anne-F Jacques, David Lafrance, Philippe Lauzier, Pierre-Yves Martel, Philippe Melanson, Cléo Palacio-Quintin, Gabriel Rivest, Vergil Sharkya’, Alexandre St-Onge, Scott Thomson, Ida Toninato
- Graphic design: Fabrizio Gilardino
CD (AM 225)
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- 10Joker Casa (Joane Hétu) (2013), 3:36Isaiah Ceccarelli, voice; Gabriel Dharmoo, voice; Jean Derome, voice; Géraldine Eguiluz, voice; Lori Freedman, voice; Susanna Hood, voice; Kathy Kennedy, voice; Diane Labrosse, voice; Elizabeth Lima, voice; Danielle Palardy Roger, voice; Alexandre St-Onge, voice
- 11Émilie Côté Lafrance (Michel F Côté, Émilie Girard-Charest, Joane Hétu, David Lafrance) (2014), 4:24Michel F Côté, drum set; Émilie Girard-Charest, cello; Joane Hétu, voice; David Lafrance, turntables
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- Label: Ambiances Magnétiques
- AM 225
- 2016
- UCC 771028122523
- Total duration: 51:58
- Sympathique case
- 126 mm × 126 mm × 5 mm
- 35 g
On the web
Download (AM 225_NUM)
This item can be downloaded and/or listened to at joanehetu.bandcamp.com.
Not in catalogue
This item is not available through our website. We have catalogued it for information purposes only.
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- 10Joker Casa (Joane Hétu) (2013), 3:36Isaiah Ceccarelli, voice; Gabriel Dharmoo, voice; Jean Derome, voice; Géraldine Eguiluz, voice; Lori Freedman, voice; Susanna Hood, voice; Kathy Kennedy, voice; Diane Labrosse, voice; Elizabeth Lima, voice; Danielle Palardy Roger, voice; Alexandre St-Onge, voice
- 11Émilie Côté Lafrance (Michel F Côté, Émilie Girard-Charest, Joane Hétu, David Lafrance) (2014), 4:24Michel F Côté, drum set; Émilie Girard-Charest, cello; Joane Hétu, voice; David Lafrance, turntables
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- Label: Ambiances Magnétiques
- AM 225_NUM
- 2016
- UCC 771028122585
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In the press
Hudebni recenze

Critique

Whither Canada? Part 1
Joane Hétu is a vocalist and sax player, renowned on the Montréal free improvisation “scene”. Her Famille (AM 225 CD) is a selection of concert recordings made between 2009 and 2015; the Mercredimusics @ Casa Obscura series of concerts might be the Canadian equivalent of Company Week, dedicated to free improvisation. Certainly, the team-up-with-anyone spirit nurtured by Derek Bailey is alive and well in Canada, if these snapshots are anything to go by. There’s a long list of fellow improvisers on the sleeve here with which Joane has thrown down her vocal and woodwind exploits, including a few names we recognise, such as Pierre-Yves Martel, Philippe Lauzier, and Alexandre St-Onge. Not every track is an outright winner for me, but the subdued mysterious mood running through this album is very intriguing, and my preference is for those cuts which whine and drone exquisitely without anyone appearing to exert themselves very much. Joane Hétu’s sax work is adequate, her voice work is far more distinctive, and while her errant hooting may be an acquired taste her murmurs and pained squeaks are strangely satisfying, in spite of their minimal content. So far a picture emerges of Canadian improvisers being capable of far more restraint than you might find, let’s say, during an evening with Peter Brotzmann and Evan Parker.