Monday, May 22 – IMOO #159: In The Sea

, May 22 – 9pm
Black Squirrel Books (1073 Bank Street)

Tristan Honsinger – cello, voice
Nicolas Caloia – double bass

Tristan Honsinger started improvising in Montreal more than forty years ago, prior to his decisive move to Europe, where he’s been at the centre of improvised music activity ever since.  So this group represents an oblique sort of homecoming. Their rapport is obvious, the results a satisfying mixture of musical empathy and creative conflict.  Tristan plays with characteristic daring from his reserves of readymade tune fragments and shards of poetry and into the protean unknown that is the foundation for the best group improvising.  Josh Zubot,and Nicolas Caloia don’t merely follow him there, but provoke him – and each other – in ways that are, by turns, subtle, assertive, and irreverent.  A superb encounter.

Tristan Honsinger – cello & voice is perhaps best known for his long running collaboration with Cecil Taylor, Derek Bailey or the ICP orchestra. Born in Burlington, Vermont, USA, he studied classical cello at the New England Conservatory in Boston before moving to Montreal in 1969 to avoid the draft. Honsinger moved to Europe in 1974 and is active throughout the continent. Honsinger is someone who hasn’t lost his childhood fantasy entirely. His compositions are like a child’s drawing, or even more like a story from Winnie The Pooh: awkward and touchingly simple, yet full of deeper meanings for those who want to see them.

For the last twenty-five years Nicolas Caloia – double bass has worked at creating a music that erases the lines between improvised and composed, pop and avant-garde, good and bad. He hopes this music will satisfy the body, the mind and, above all, the heart. He has been a performer and organizer in Montreal since the early 1990s and has toured in North America, Europe, and Asia. He has worked with musicians like Marshall Allen, John Butcher, Joe McPhee, Steve Lacy, Hassan Hakmoun, Tristan Honsinger, the ICP Orchestra, Agusti Fernandez, Matana Roberts and Pandit Hariprasad Chaurasia

Sunday, May 7 – IMOO #158: Our first house concert!

We’ve been holding concerts at IMOO since 2010, and we’ve never had a house concert – until now that is!

IMOO regular Bradley Evans has graciously offered his place in Kanata (off the March Road Queensway exit) as the location.  If you would like to come, email us at: for directions

for those of you who are on the email list, we will be sending out an address and directions on Tuesday morning.  If you are not on the email list, consider joining (there’s a link on the homepage).

The show will feature:
Rory Magill – xylophone
David Broscoe – reeds
David Jackson – guitar
Linsey Wellman – reeds

Hope you can make it out!



Sunday, April 9 – IMOO #157: Bonnie Kane & Walter Wright

Bonnie Kane 
is a dedicated improvisor, Integrating saxophone, flute, feedback and electronics her work as avant-core, an extreme energy mix of psychedelic rock, hard core, and avant garde jazz.
She was influenced by an unusually early exposure to Sun Ra, studies with Sonny Simmons, Paul McCandless, Glenn Moore, Ralph Towner (Oregon), and Jon Raskin (Rova Saxophone Quartet). A stint in the original Club Foot Orchestra, whose members then included Snakefinger (The Residents) and Eric Drew Feldman (Captain Beefheart), introduced her to electronic processing for horns, and brief study at Mills College under Anthony Braxton solidified her direction.
Her bands have been known for “scalp shearing shows”, “feats of bravery”, and for music that is “… the algebra of heart, brain, and soul.” Her music is not for the timid.
Walter Wright
is an interdisciplinary artist, his practice includes computer programming, electro-acoustic music, and video performance. His focus is on “improvisation as a way of being present in the world.”
Wright performs with several groups including LOS CONDENADOS, Egregoros, and ensemble inédit ?!. He plays a Bugbrand Board Weevil, contact mics by Crank Sturgeon, drums and percussion.
Bonnie and Walter will be joined by:
Emilie Mouchous – electronics
Grace Brooks – voice
Craig Pedersen – trumpet

Sunday, March 12 – IMOO #156: IMOO Orchestra!

Improvising Musicians of Ottawa/Ouatouais (IMOO) graciously acknowledges the support of Ottawa 2017, the JUNO Host Committee, and the Ottawa Music Industry Coalition

Rory Magill – xylophone
Scott Warren – percussion, electronics
David Broscoe – reeds, electronics
Jennifer Giles – accordion
Bernard Stepien – saxophone, accordion
Laura Kavanaugh – electronics
Ian Birse – electronics
David Jackson – guitar, electronics
Linsey Wellman – woodwinds

We’re excited for the chance to gather together some of the musicians who have been involved with IMOO over the years, and without whom this series couldn’t happen!  A large group improvisation, with visuals prepared by David Broscoe for the second set.

NOTE: House of Common is the studio space around the back of the main building at 11 Fairmont Avenue.  The path to the back can at times be icy, there is a small step to enter the building, and a step to get to the washrooms.

Sunday, March 5 – IMOO #155: Sound of the Mountain

Craig Pedersen – trumpet
Elizabeth Millar – clarinet

For the second set, they will be joined by:
David Broscoe – reeds, electronics

Sound of the Mountain
A duo featuring the hollowed-out sounds of amplified clarinet and trumpet, Sound of the Mountain comes from a strong history of improv and extended performance techniques, offering their audience long-form deep listening experiences through the sculpting of vitalized breath.

Sunday, February 26 – IMOO #154: Eschaton

Connor Bennett – saxophones, electronics
Aaron Hutchinson – trumpet, electronics, percussion

Eschaton is an improvised noise duet comprising Aaron Hutchinson and Connor Bennett. Based in Hamilton, Ontario, their music is driven by spontaneity and a passion for improvisation. Thick textural noise contrasted with vulnerable horn expressions, Eschaton creates narrative soundscapes that breathe, bend, and distort. They have released cassettes and lathes on Hamilton labels HAVNrecords, PERDU, and Arachnidiscs and played throughout southern Ontario and Montreal.

Sunday February 5th – IMOO #153: Jeff Morton ʍiniʍal ɯandering ʍusic

Jeff Morton presents a very quiet sound and duration performance with an old field drum, tiny speakers, cassette players, and other musical objects.

This is a deep listening activity, and we will have to sit close together to hear everything. So bring a pillow if you like, and take care to be comfortable. It’s totally fine if your mind wanders.

“…concern for the vicissitudes of temporality and comprehension; of being and becoming; movement and stasis; of the appearance and evanescence of the unique sounding event.” – Nicholas Melia and James Saunders, Introduction: What is wandelweiser?, Contemporary Music Review 30 (2011), no. 6, 445–448.

Jeff will be joined after some duration  by David Jackson on small electronics, pedals, and hushed tones.

Sunday, 15 January – IMOO #152: Paul Newman (cd release)

paul-newman-heather-segger-rec2This will be the Ottawa release for Paul Newman’s new cd: Music for Solo Tenor Saxophone.

Paul Newman – tenor saxophone

Ottawa native Paul Newman is a saxophonist and composer. He was educated at St. Francis Xavier University, the Banff Centre and most recently York University, from which he graduated in 2010 with a master’s degree in composition. In addition to playing tenor saxophone in the Rhinoceros Saxophone Quartet, he plays with the Starfires, the Woodchoppers and in duos with Brian Abbott, Karen Ng and Heather Saumer. He also has an ongoing solo project; his CD Music for Solo Tenor Saxophone will be released in January 2017. Paul Newman lives in Toronto with his cat, Mahalia.

For the second set, Paul will be joined by Rory Magill (xylophone) and David Jackson (guitar).

Sunday, 18 December – IMOO #151: A Very Ayler Christmas! with an opener by Rémy Bélanger de Beauport

disc front(300dpi)Bernard Stepien – saxophone, accordion
Jennifer Giles – accordion
David Jackson – guitar
Adam Saikaley – keyboard
David Broscoe – reeds
Linsey Wellman – reeds
Scott Warren – drums, electronics
and perhaps more…

Join orchestra chief Bernard Stepien as he leads his merry band of elves through a spirited mash-up of seasonal songs with our favourites from the immortal Albert Ayler!

Also: an opener by Rémy Bélanger de Beauport

Rémy Bélanger de Beauport, Cellist, 09.05.2016 @ Skulpturengiesserei, Berlin

Rémy Bélanger de Beauport, Cellist, 09.05.2016 @ Skulpturengiesserei, Berlin

Originally from Québec City, Rémy’s artistic practice as an experimental musician dates back to his teenage years. Influenced by Karlheinz Stockhausen and Nirvana, he publishes a first recording in 2003, with noise trio Soda Pop for a Déluge/Alterflow compilation. The same year, he releases an album as duo KL6 39E, on guitar, before switching over to the cello, starting the Fenaison trio with a first album on Ambiances Magnétiques in 2007.

Since then, he has been active in many long and short term projects: as a singer in Ensemble Partiel, he has performed in Stimmung, by Karlheinz Stockhausen; as a free-improv cellist, he has played in Le Veau / The Veal on Cuchabata Records (Faire l’amour aux banques, 2015) and is regularly invited to play one-off concerts. As the cellist in GGRIL (an improvisers’ orchestra based in Rimouski, Québec) he can be heard on Combines (Tour de bras, 2015) and has performed in France and Italy as part of a European tour in 2016. While living in Berlin in 2015-2016, he formed string trio THUYA with bass player Klaus Kürvers and violinist Gerhard Uebele (Live @ the CLUB, Creative Sources Recordings, 2016) and joined the Berlin Improvisers’ Orchestra. He has recently released a flexidisc Angenehmer Duft on Kohlenstoff Records and a solo album D’éclisses on Ambiances Magnétiques.

Originaire de la Ville de Québec, Rémy développe une pratique de la musique expérimentale dès l’adolescence. Influencé par les musiques de Karlheinz Stockhausen et de Nirvana, il publie pour la première fois en 2003 avec son trio bruitiste Soda Pop pour une compilation Déluge/Alterflow. Il enregistre également en 2003 à titre de guitariste du duo KL6 39E avant de se tourner vers le violoncelle et fonder le trio Fenaison, pour qui il enregistre sur étiquette Ambiances Magnétiques en 2007.

Depuis, il participe à plusieurs projets à durées variables : chanteur membre de l’Ensemble Partiel consacré à l’interprétation de la pièce Stimmung de Karlheinz Stockhausen, violoncelliste improvisateur au sein du trio Le Veau / The Veal sur étiquette Cuchabata records (Faire l’amour aux banques, 2015) et invité régulier lors de concerts ponctuels. Violoncelliste du GGRIL (Grand groupe régional d’improvisation libérée), il participe à l’enregistrement de Combines sur étiquette Tour de bras (2015) et à une tournée européenne en 2016 qui le mène en France et en Italie. Résidant à Berlin entre 2015 et 2016, il y fonde le trio THUYA avec le contrebassiste Klaus Kürvers et le violoniste Gerhard Uebele (Live @ the CLUB, Creative Sources Recordings, 2016) et joint le Berlin Improvisors’ Orchestra. Tout récemment, il produit un flexi disque, Angenehmer Duft, sur Kohlenstoff Records (2016) et un album solo, D’éclisses, sur Ambiances Magnétiques (2016).

Wednesday, November 23 – IMOO #149: PLANT (Éric Normand & Jim Denley)



Jim Denley – flute, alto saxophone
Éric Normand – bass, electronics

Normally a music group’s recorded output is a tip of an iceberg – most of the music played goes undocumented.

Eric Normand and Jim Denley first played together on the 25th of May 2010 in Rimourski, Quebec, a recording of the music that night became the CD ‘Transition De Phase’. The next time was also in Rimourski – once again at the Coop Paradis. A recording of that music will become the LP, ‘Plant’.

So far, all the music they have played together, (apart from a sound check), will become audio objects, this is an unusual situation, that says something about the world we live in now.

The two musicians live more than 10000 Km s apart separated by more than the Pacific, (their native tongues are different), but they are involved in a music practice that allows them to come together, without rehearsal and shared experience, to collectively create. This is true ‘world music’.

We’ve all heard the cliché that ‘music is a universal language’, but in the past musicians have had to learn each others systems – the sounds, scales, harmonies, rhythms and structures – to create cohesively together.

But Jim and Erics’ ‘world music’ is not about learning each others music systems and rehearsing to create co-ordinated expected outcomes – it is rather, about the acceptance and co-existence of the Other. There is no ‘compromise’ in this coming together, each musician is able to be himself, with local influences undiluted, but with enough shared methodology to work in parallel.

Jim Denley, one of Australia’s foremost improvisers of new music, was born in 1957 in the country town of Bulli in New South Wales, and grew up in Wollongong. Wind instruments and electronics are core elements of his musical output.

En général, la musique que publie un groupe ne représente qu’une petite partie de ce qu’il a joué – le reste n’est pas enregistré.

Éric Normand et Jim Denley ont joué ensemble pour la première fois, le 25 mai 2010, à Rimouski (Québec). Le contenu de cette soirée a donné naissance au disque compact « Transition de phase ». Toujours à Rimouski, en avril 2012, une deuxième rencontre à donné naissance au microsillon « Plant » .

À ce jour, tout ce qu’ils ont joué ensemble (à l’exception d’un test de son) s’est transformé en artéfacts sonores.

Ces deux musiciens vivent à plus de 10 000 km de distance. Un océan les sépare. Ils n’ont pas la même langue maternelle, mais ils partagent une pratique musicale qui leur permet de se réunir pour créer, sans répétitions, sans vécu commun. Voilà le vrai sens de l’expression « musique du monde ».

Nous avons tous entendu ce cliché qui dit que la musique est un langage universel mais, auparavant, les musiciens devaient se familiariser avec les codes de leurs confrères (sons, gammes, harmonies, rythmes, structures) avant de pouvoir créer ensemble quelque chose de cohérent.

Or, la « musique du monde » de Jim et d’Éric ne se fonde pas sur la découverte du système musical de l’autre où les répétitions permettent de coordonner la production d’un résultat attendu. Elle porte plutôt sur l’acceptation de l’Autre et la coexistence avec lui. Cette mise en commun n’entraîne aucun compromis : chacun des musiciens est en mesure d’être lui-même, de porter ses influences locales, avec une méthodologie commune leur permettant d’œuvrer en parallèle.