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Nine of its members were part of the loose collective L’Enfant Fort (1975), which used to parade its trumpets and drums in the streets of Montréal on Saturday afternoons; of the Pouet Pouet Band (1978), an orchestra that merged cabaret and theatre to its original compositions and "from which emanates a taste of black coffee that whips up the central nervous system" (Jean-Robert Sansfaçon); Le Temps Fou and Montréal Transport Limité (1981), an underground cabaret. Then, as they say, we all went our separate ways… And in the summer of 1995, simply for the pleasure of playing together again, the Fanfare Pourpour came to life.
There are 15 of them, aged 21 to 68 — musicians, actors, graphic designers, radio host, computer scientist — and they play an original form of music, both sad and happy, where happiness, disorderliness and poetry live in harmony. Through the years, the Fanfare has been nourished by the arrival of young talents (Némo Venba, Guido Del Fabbro, Pierre-Emmanuel Poizat, Luzio Altobelli) and by musicians from the Montréal jazz and mew music scenes (Normand Guilbeault, Jean Derome, Claude Vendette, Pierre Tanguay).
“[…] l’ouvrage de traîne est captivant, que rehausse en plus les incursions qu’y taille la clarinette contrebasse de Côté.”
Envoi in Le son du grisli (France), February 2012
“Serious music, though not scholar; demanding music that never sounds forced”
Halcyon Science 130410 in Monsieur Délire (Québec), February 2012
“A strong record, both in terms of composition and interpretation. Recommended.”
Year of the Boar in Monsieur Délire (Québec), February 2012
“A 40-minute session displaying a fine intensity and a few surprises, like the short appearance of a daxophone”
At Somewhere There in Monsieur Délire (Québec), January 2012
“A nice recording with poet Fortner Anderson reciting and inhabiting his poems”
Solitary Pleasures in Monsieur Délire (Québec), January 2012
“There are moments of splendor just as there are moments of searching for that splendor. At their heights, Duncan, choir and instrumentalists find a unique beauty.”
At Christ Church Deer Park in The Squid’s Ear (USA), January 2012
“Il s’agit d’un aboutissement pour ce type d’exploration”
Points, lignes avec haut-parleurs in Voir (Québec), January 2012
“The voice is the same throughout and the music is all highly freely improvised.”
Solitary Pleasures in Vital #812 (Netherlands), December 2011
“An excellent release of fine noise.”
La Formule Xyz in Vital #812 (Netherlands), December 2011
“The recording is excellent, the playing superb all round, and the result is a fitting testament to the musical universe he created.”
Envoi in Paris Transatlantic (France), December 2011
“Difficulties, delays and success: per usual, Côté’s imagination turns out all these things.”
Ave <w> in The Squid’s Ear (USA), December 2011
“Mentionnons la participation de Karen Young qui prête sa superbe voix à l’expérimentation de Brady.”
24 Frames — Scatter in SOCAN, Paroles & Musique #18:4 (Canada), December 2011
“La voix est juste, posée, pénétrante, la musique post-industrielle, rêche… très bon!”
Solitary Pleasures in Jazz à crédit (Québec), November 2011
“Both the OIO and AIMTO attempt particular sound variations to re-define — or perhaps it’s to define — the parameters of large improvising ensembles.”
Year of the Boar in Jazz Word (Canada), November 2011
“Les fléchettes que décochent Jean Derome et Lê Quan Ninh délivrent un poison qui saisit en un rien de temps.”
Fléchettes in Le son du grisli (France), November 2011
“A dense, synthetic work, though still accessible and showing its rock-in-opposition roots.”
Filature in Monsieur Délire (Québec), November 2011
“Ainsi va la vie imaginée. Preuve que les tableaux sonores n’ont pas besoin d’être des portraits réalistes. Et les rêveries de Cordâme sont très enveloppantes.”
Lieux imaginés in Le Devoir (Québec), November 2011
“the balance of the three musicians is perfect throughout”
La Formule Xyz in The Squid’s Ear (USA), November 2011
Joane Hétu — DAME / actuellecd.com
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