Within the eclectic arena of Montréal’s Ambiances Magnétiques collective, Jean Derome is one of the strongest and most consistent voices. He is also one of the biggest jazz devotees in the group, making him — within the context of his adventurous cohorts — something of a traditionalist. He has a long-standing Monk tribute group. He plays saxophone, for the love of Pete. And, unlike the neo traditionalists, he reliably contributes to the tradition. Along with Évidence, his Monk project, Les Dangereux Zhoms is one of his longest-standing groups. The quintet been on hiatus for a while, but returned to the 2008 Festival International de Musique Actuelle de Victoriaville more than doubled in size and with two of Derome’s most ambitious works to date; The pair of long suites made full use of his unusual jazz band plus viola, electric guitar and turntable, a big 12-tet that embarked on the Canadian festival circuit in the summer of 2009. And where Derome has an avowed love for Monk’s music, here he came off as a modern day Mingus. The big band is employed to sweeping, cinematic effect, with changes in mood and dynamic underlined by strong themes and, crucially, the rock solid foundation of Pierre Cartier on electric bass and Pierre Tanguay on drums. The tight adherence to structure allows Derome’s band, over the stretch of two 30-minute journeys, to go out while remaining in. Early in Plates-formes, an overtly lovely Guillaume Dostaler piano solo is interrupted by electrical buzzes and static. It’s not quite funny, but in that peculiar Ambiances Magnetiques way, it’s charming. And more importantly, within the structure Derome has built, it makes sense (or, at least, is made to make sense as the piece progresses). Likewise, a blistering electric guitar solo by Bernard Falaise or the outré vocalizations of Joane Hétu are force-fitted — without smugness or irony — into what remains a pair of works of jazz classicism. Victo’s reliably warm and present recording ensures that the breadth of the work is never lost. The performances captured on Plates-formes et Traquenards are dedicated to Productions Plateforme (FIMAV’s parent organization) and the Montréal production company Tranquen’Art, both of which celebrated their 25th anniversaries in 2008, as did Ambiances Magnetiques. Clearly something was in the Québécois air in 1993. Derome has issued a fantastic, and fitting, response.

As part of the Mardi spaghetti weekly series for creative music, this week you will hear: Ryan Frizell (trumpet), Luke Fowlie (guitar), Philippe Melanson (drums), Ben Shemie (electronics), Guido Del Fabbro (violin) and Pierre-Yves Martel (viola da gamba) on Tuesday November 10, 2009 at 9 pm at Le Cagibi, Montréal.

No Zen is Montréal saxman Damian Nisenson’s latest band. I’m fond of his previous CD with his trio. Here’s a quartet consisting of guitarist Bernard Falaise, bassist Jean Félix Mailloux, and drummer Pierre Tanguay. Montréal-style avant-jazz with Latin and Jewish touches, plus a rock influence that taps into Falaise’s peculiar talent. It’s probably the softest session Falaise has ever participated in, but he does a convincing job. Nisenson’s light and lightly plaintive sax sound rules throughout.

Under the sign of lyricism and poetry, this festive evening is a meeting between Sylvie Laliberté and Fanfare Pourpour. An exceptional encounter of an evening, on November 7, 2009 at 8:30pm at Lion d’Or, Montréal.

Nous perçons les oreilles with (Jean Derome and Joane Hétu) will be touring in France and Italia on November 9 to 20, 2009 in

• Montpellier, at Baloard;
• Marseille, at Point de Bascule;
• Rome, at Officine;
• Lodi, at Casa del Popolo;
• Bologne, at Scuola Popolare di Musica Ivan Illich
• at Gradisca d’Isonzo in MoreMusic festival.

With the avowed desire to destabilize the listener, Nous perçons les oreilles in a humorous way to both posters from jewelers shops and the potential impact this music may have on the uninitiated listener. Not to be missed if you’re in the area!