Infused with march, polka and circus materials, L’Orkestre’s Jazz-rock stage band persona is unapologetically upbeat. For the most part steering clear of any so-called modernisms the group relies on precise ensemble execution and spirited, if conservative, solos to get its point across; the essence of that point being nicely summed up in the closer’s broad reference to The Tiger Rag.

Este primeiro registo de L’Orkestre des pas perdus, projecto assinado pelo trombonetista Claude St-Jean. of efece-nos o tipo de música que se pode ouvir com prazer nos dias em que não apetece lazer outra coisa a não ser preguiçar, junto de uma chávena de chá, por exemplo, numa festiva tarde de domingo. Por doze temas onde se cruzam variadas influencas desde o jazz e do funk até ao género de musica que se ouve nos circos e fentarras, sons originais jovialmente entrelaçados por um trombone, um trompete, dois saxofones, uma bateria e um sousafone, resultam num agradável conjunto de composições vivas e coloridas.

L’Orkestre des pas perdus is a kind of alternative brass (and reeds) band led by trombonist Claude St-Jean, with Jean Sabourin (sousaphone), Ivanhoe Jolicoeur (trumpet and flugelhorn), Paul Richer (tenor sax), Jean-Denis Levasseur (alto sax and piccolo), and Remi Leclerc (drums). All the tunes are by St-Jean, mixing elements of New Orleans jazz, burlesque, musique actuelle, and humour. An example of the latst shows up on the back cover in the three squares that normally indicate whether the recording, mixing, and mastering were analogue (A) or digital (D). Here the code is OPP. Musical highlights include the truckin’ groove of Déménagement, and the olio furnishings of La salle des pas perdus. 3/5

L’Orkestre des Pas Perdus’ first CD was released in 1996 on Ambiances Magnétiques, a label devoted to avant-garde music. T’auras pas ta pomme (the phrase itself means very little, it is used as an onomatopoeic expression for a drum roll) presented a very original recipe. Leader Claude St-Jean, a trombone player, has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings. The instrumentation of trumpet, trombone, two saxophones, sousaphone and drums can pack a lot of energy into four-minute tunes. Most pieces follow the fanfare-funk trail and, to some extent, are interchangeable: a groovy beat, a tutti riff, horn cues and solos. The music gets close to Maneige on La marche à Marie B. thanks to a very pied-piperesque piccolo melody. Elements of dissonance and free improvisation are integrated into La salle des pas perdus, but T’auras pas ta pomme is mostly one hot lick after another. The last piece, Acide cirque, takes the band sound’s into circus music. L’Orkestre des Pas Perdus’ follow-up album Maison douce maison will be more accessible and focused than this one.

• Rafa Dorado, Margen, n^o 8, 1 décembre 1996
• LF, Minimal, n^o 13, 1 novembre 1996