CLH: What kind of sound image does SuperMusique create? Is there a distinctive sound?
Scott: Yes. SuperMusique always combines electronic and acoustic instruments. That synthesis defines the sound. Also, it’s an ensemble of variable geometry—different members for each project, but with some recurring key players like Joane Hétu, Danielle Palardy Roger, Diane Labrosse, Jean Derome, Bernard Falaise, and others. The sound is shaped by these improvisers and how their styles filter through the compositions. Conducting is another element—Joane, Danielle, and Jean all conduct in different ways using similar gestures but with very distinct outcomes.
CLH: Would you recognize a SuperMusique recording?
Scott: I think so. I’d recognize the individual improvisers—their voices are very distinct. The way they interact together gives the group its identity.
CLH: So the artistic identity is about the personalities?
Scott: Exactly. It’s about who’s playing and how. That gives it continuity despite different lineups.
CLH: Do you think improvised music sounds different in different cities like Montreal, Quebec, Rimouski?
Scott: Definitely. It’s the result of who’s playing and how often. Places like Rimouski have developed their own character by repetition—musicians playing together over time and developing shared instincts. Montreal is more fluid but still distinct.
CLH: What defines those local vibes?
Scott: It’s like a great dinner party—hard to quantify, but you know when it clicks. That chemistry becomes a sound. And in smaller cities, that chemistry is tighter because people tend to play together often.
CLH: Is SuperMusique a collective?
Scott: Not exactly. It has co-artistic directors who make decisions—very professional. But there’s a close relationship with the informal improvised music scene. That informal scene is crucial: it brings in new musicians, who later get involved in bigger projects. There’s an ecology—a balance between formal and informal spaces.
CLH: What does professionalization change?
Scott: It changes the music. SuperMusique focuses on composed works that use improvisers, not free improvisation per se. So the intention is different—it becomes about presenting a work well, not necessarily expressing freedom.
CLH: So is there still a connection between SuperMusique and freedom?
Scott: Personally, no. It’s more about responsibility. I don’t feel “free” as a player in these projects, but I try to create pieces that give room for expression. I’m not “giving” freedom—just not taking it away. “Free” is such a political term. I’ve been interested in the thought experiment replacing it with “responsible improvised music.” That says more about the ethics involved.
CLH: Does Montreal have a typical sound for you?
Scott: Yes. When I moved from Toronto, what struck me here was the sound of bicycle bells. Toronto was all about streetcars, but Montreal—it’s bikes. It’s quieter, softer, more human-scaled. That physical space and pace affects how people live and play.
CLH: Does geography shape the music?
Scott: Absolutely. Montreal’s musicians live closer together. It’s more affordable than Toronto, so people stay connected. You can walk to a gig or rehearsal. That proximity fosters relationships and makes collaboration easier.
CLH: Is SuperMusique important for Montreal?
Scott: Objectively, probably not. It’s a marginal practice, culturally. But we’re still here, and what we do matters internationally. Montreal benefits from it, even if it doesn’t always recognize it.
CLH: Is the Montreal audience different?
Scott: It depends on the context. There’s no single “Montreal audience.” Smaller cities like Rimouski or Victoriaville have more generalist audiences—people into all kinds of arts. In Montreal, it’s often more specialized.
CLH: If you had to eliminate one term: composition, improvisation, or concept?
Scott: Tough one. I’d reluctantly say concept. I personally use conceptual approaches a lot as a composer, and they’ve been welcomed in SuperMusique. But overall, composition and improvisation are more central to the ensemble.
CLH: What unifies the players?
Scott: The structure and artistic direction. It brings together people who might not otherwise play together. Over time, shared experience creates solidarity—even if the group changes. That’s part of the ecology.
CLH: And what divides them?
Scott: Also the structure. Being placed with unfamiliar collaborators can emphasize difference. But improvisers often thrive on difference. Tension can lead to discovery.
CLH: What’s your favorite sound?
Scott: The next sound I get to hear.
CLH: A pitch that’s special to you?
Scott: E-flat. On my horn, there’s a kind of bloom when I hit that note. It just resonates.
CLH: And an interval?
Scott: Octaves. Right now, I’m really into octaves. But that could change.