"Joëlle Léandre is a famous French Bassist and is known for her collaborations with other musicians in the field of improvised music. Born in France on September 12th, 1951, she made her music debut in 1984 with Les Douze Sons. Her childhood was filled with music, and she was particularly interested in the piano during her early years. In her later years, she developed an interest in double bass, which won her many honors and scholarships during her education. Her double bass teacher Pierre Delescluse encouraged her to apply to the Conservatoire National Superieur de Musique de Paris, where she was formally trained and noticed for her talent in the bass. Her outstanding musicianship took her to the United States and to the Centre for Creative and Performing Arts in Buffalo through a scholarship. In the United States, she expanded her network and met some of the best composers, such as John Cage, Giacinto Scelsi, and Morton Feldman. Among them, John Cage greatly influenced her music and compositions. Her time in the United States also enabled her to experience downtown New York music, which was another significant influence that led to her continued involvement in the field of improvised music.

Some of her notable collaborations in the field of contemporary music are with Pierre Boulez, Merce Cunningham, John Cage, and Giacinto Scelsi. Among them, John Cage and Giacinto Scelsi were the biggest influences in her life and music. In an interview, Joëlle Léandre said that John Cage was her spiritual father and changed her perception of sound and music. In another interview, she tells how Giacinto Scelsi allowed her to discover her own music and how his music transported her into a new world of improved consciousness. In the field of jazz music, she collaborated with Derek Bailey, William Parker, and Sebi Tramontana. Her music was owned and distributed by different music labels, including FMP, Leo, RougueArt, and Red Toucan. Some memorable songs and albums she released throughout the years include Instant Replay, Les Douze sons, Trios, Sweet Zee, Frerebet, Joelle et Tetsu, Philippe Fenelon, Voyages, etc. Some of the recent releases include Can You Hear Me and Unleashed. She has also performed live at the Tampere Jazz Festival twice, where popular international artists compete with each other.

Joëlle Léandre is also the member of European Women's Improvising Group (EWIG). The group evolved from the Feminist Improvising Group, and Joëlle Léandre joined the group in 1983. In the early 1900s, she co-founded Les Diaboliques with Irene Schweizer and Maggie Nicols, who were her long-time musician friends. Besides that, she also teaches several classes in prestigious universities about contemporary and improvised music. She has lived in France, Germany, and U.S during her lifetime, teaching at academic institutions in the religions and playing concerts. In 2002, she was invited to Canada as a visiting professor for music and composition."

-Joelle Leandre Website (https://www.joelle-leandre.com/biography/2/)
9/14/2026

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Francois Houle (born August 17, 1961, Lachine): "I am a Canadian clarinetist who embraces pretty much any music where the clarinet is present, or has a bit of profile or history. Although I am classically trained, I have not followed the traditional career path associated with the kind of classical training I came out of.

I studied at McGill University with Emilio Iacurto (the legendary, long-time principal clarinetist of the Montreal Symphony Orchestra) and at Yale University with Keith Wilson (whose contribution to the clarinet world is unparalleled). I've had the privilege of participating in masterclasses with some of the world's finest clarinet players, including David Shifrin, Richard Stoltzman and Alan Hacker.

It was Alan Hacker who actually opened the door for me to explore new technical and musical possibilities on the clarinet. Having been part of Fires of London and a close collaborator with composers such as Peter Maxwell-Davies, Alan's insatiable curiosity and deep scholarship inspired me to look for my own personal approach. Following a brief visit to his home in the UK in the late 80's I spent some time in Paris practicing and researching clarinet new music repertoire. At that time I still didn't know what I was going to do with my life, except that I had a deep desire to "make it" in the music scene. It was during this period that I discovered the music of Steve Lacy.

Steve Lacy's career actually began as a dixieland clarinetist, eventually shifting to the soprano saxophone, an instrument very few jazz musicians had investigated since the great Sydney Bechet due to its range, smaller embouchure and faulty intonation. Steve dedicated his life to bringing this instrument at the forefront of creative music (legend has it that he turned John Coltrane on to the soprano's expressive qualities).

At the time I had one occasion of hearing him play live at the New Morning jazz club, and bought a newly released duo recording called "Paris Blues" (Owl Records, 1987) with the great Gil Evans on piano. Heading back to Canada, that was the only music I could listen to for quite a while, being transfixed by Lacy's and Evan's telepathic playing. It was the first time that I had found a jazz performance that rivalled with the finest chamber music making I was then more familiar with. It was a game changer as far as I was concerned. It opened the door for further exploration and discoveries; Anthony Braxton, John Carter, Jimmy Giuffre, all important figures in the development of creative music on the clarinet. It is interesting and deplorable to note that not once were these names ever mentioned in all my years of university clarinet seminars and lessons. It was only a few years later that he agreed to meet with me for one on one lessons at his Paris apartment. His main advice to me was to stick with the clarinet, and forge ahead with my musical thoughts and ideas, no matter how difficult the road ahead may be.

After a stint at the Banff Centre, where I worked on my technique and practiced improvisation (the centre has a great library with an extensive jazz and creative music collection), I relocated to Vancouver in the winter of 1989, where I began playing on the creative music scene and met many musicians who eventually became fantastic collaborators; Claude Ranger, Roger Baird, Tony Wilson, amongst many others. At the time, the New Orchestra Workshop Society was approaching its golden years, with the founding of the legendary Glass Slipper, the "go to" venue for creative music on the West Coast. The Vancouver Jazz Festival was well on its way to establishing itself as one of the most innovative international music happening, not only programming some of the biggest names in the business, such as Miles Davis and Wynton Marsalis, but also the most creative musicians on the planet; Cecil Taylor, Evan Parker, John Zorn, Dave Douglas, Anthony Braxton, William Parker, and a whole sleuth of European 1st generation of improvisors such as Misha Mengelberg, Han Benning, ICP, AMM, and the Italian Instabile Orchestra. It was at the 1992 Jazz Festival that I had my first high profile gig, my first band "Et Cetera" sharing the bill with the Steve Lacy Sextet!

As I was making my first steps in the improvised community, I also became involved with the contemporary music scene, collaborating with composers such as John Oliver and Paul Dolden, as well as freelancing with established organizations; Vancouver New Music, Vancouver Pro Musica. In 1992 I became a founding member of the Standing Wave ensemble. My activities in both creative music and new music allowed me to forge a strong profile, eventually expanding to collaborations with international musicians, and getting international touring opportunities. Some long standing collaborations were forged during that fruitful period, with luminaries such as Benoît Delbecq and Joëlle Léandre among others.

I have since been constantly involved in the advancement of creative music, pursuing collaborative projects with composers and musicians of all persuasions. My work continues to test the boundaries, looking for new vistas and connections with listeners everywhere."

-Francois Houle Website (https://www.francoishoule.ca/about)
9/14/2026

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"Raymond Strid (born 1956 in Stockholm, Sweden) is a Swedish drummer in the genre of free jazz and the new European improvised music.When Strid picked up drumming, he was inspired by musicians like Han Bennink, Paul Lytton, and Tony Oxley. He started his musical career relatively late. His debut concert was in September 1977, after first playing with a variety of local bands in Stockholm. In 1988 he founded the 'GUSH' trio together with saxophonist Mats Gustafsson and the pianist Sten Sandell. Since that time Strid has played in a series of bands and projects, such as in the trio Guy/Gustafsson/Strid, Marilyn Crispell/Anders Jormin/Raymond Strid and the Free Jazz trio LSB with Fredrik Ljungkvist and Johan Berthling. In 2000 he initiated 'The Electrics' with Axel Dörner, Sture Ericson and Ingebrigt Flaten. The same year Strid joined the Barry Guy New Orchestra. Strid played at numerous festivals of free improvisation in Europe and North America. He also teaches in musical improvisation."-Wikipedia (https://en.wikipedia.org/wiki/Raymond_Strid)
9/14/2026

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