- Yves Charuest – alto saxophone
- Linsey Wellman – alto saxophone
Canadian saxophonist Yves Charuest has worked on the jazz and new music scene in the 1980-90s with many canadian musicians such as Michel Ratté, Jean Beaudet, Guillaume Dostaler, Lisle Ellis and Jean Derome, in different groups and projects: I Like Jazz, Evidence, Duo Charuest-Ratté, Trio Michel Ratté, Wreck’s Progress, among others.
Charuest was also a member of the Peter Kowald Trio (1985-1990) with Louis Moholo, with whom he played extensively in Europe and in the USA. He also played with William Parker, John Betsch, Mathias Schubert and Agustí Fernández.
More recently, Charuest has been involved on many projects with the following ensembles: Duo Charuest-Caloia, Murray Street Band, Ratchet Orchestra, The Disguises, Charuest/Shalabi/Caloia and Four-sided Circle, as well as with Nicolas Caloia, Ellwood Epps, Lori Freedman, William Parker, Sam Shalabi, Scott Thomson and Josh Zubot.
Charuest also presented solo concerts in Montreal, Quebec, Germany, France and the Netherlands, and collaborated with electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché, and more recently with choreograph Susanna Hood and dancer Alanna Kraaijeveld.
An active member of the Ottawa music scene, Linsey Wellman is known as a creative and spontaneous improvisor on the alto and soprano saxophones, the alto and standard flutes, and the standard and bass clarinets. Ever adaptable, he has plied his trade with Sun Ra tribute Rakestar Arkestra, the Craig Pedersen Quartet, JUNO nominated and Polaris Prize longlisted calypso outfit Kobo Town, art-punk ensemble Fet.Nat, and Gamelan Semara Winangun, all while taking part in countless improvised music and jazz ensembles.
He is co-founder and co-curator of the Improvising Musicians of Ottawa/Outaouais (IMOO) concert series.
“Unadorned except for his saxophone, Wellman uses repeated and carefully divided lines to vibrate split tones which are somehow both polyphonic and tonic. Using circular breathing he produces equivalent note clusters and glissandi that unroll as if his saxophone is a perpetual motion machine yet subtly vary in pitch, shading and emphasis.” – Ken Waxman