Michel F Côté

  • Montréal (Québec), 1958
  • Compositeur • Interprète (percussions)

Michel F Côté naît à Montréal l’année où, pour la première fois, un navire — le sous-marin USS Nautilus — voyage sous la calotte glaciaire du pôle Nord. Depuis 1990, il a réalisé plus de trente-cinq disques et a participé à plus d’une soixantaine d’enregistrements. Il est associé au label Ambiances Magnétiques, et il est le cofondateur du label &records. À l’automne 2016, il a fondé un nouveau label, Sono sordo. Il est au cœur des ensembles suivants: Mecha Fixes Clocks, Klaxon Gueule, Pink Saliva, Jane and The Magick Bananas, Quatuor Minéraliste, et Tiari Kese — duo avec lui-même. Multi-instrumentiste à sa manière, batteur et percussionniste au style idiosyncrasique, voire anaphylactique, Michel F Côté joue comme personne, et personne ne veut jouer comme lui.

Compositeur / tailleur pour les arts de la scène, il en a fait une spécialité. Il allonge plus d’une centaine de confections à ce jour — ce qui fait de lui un concepteur prolifique.

Associé à Catherine Tardif, ensemble ils sont codirecteurs artistiques de la compagnie de danse Et Marianne et Simon. Au théâtre, Côté a collaboré (entre autres) avec Robert Lepage, Wajdi Mouawad, Martin Faucher, Brigitte Haentjens et Simon Boudreault. En danse, il s’est associé notamment à Louise Bédard, Sylvain Émard, David Pressault, Catherine Lavoie-Marcus, Benoît Lachambre, Aurélie Pedron, Ginette Laurin et José Navas. Côté a aussi composé pour le cinéma: Serge Cardinal, Manuel Foglia, Luc Bourdon, et David Clermont.

Depuis 1999 il est chroniqueur permanent à la revue esse.

À Montréal

La presse en parle

Concert Review

Isnor B Gordon, Left Hip Magazine, 12 décembre 2008

Fred Frith played in Montréal recently along with some very talented local free improv players. I was fortunate enough to catch the show…

Legendary avant-garde guitarist Fred Frith dropped by Montréal’s Cabaret Juste Pour Rire the other night for a duo show with drummer Danielle Palardy Roger, and an opening set by two incredible percussionists - Michel F Côté and Isaiah Ceccarelli.

Côté and Ceccarelli started things off with nothing but drums. Côté was behind a standard kit extended with lots of toys and two mics rigged up two a pair of Pignose amps. Ceccarelli just had a bass drum lying on a chair along with, again, lots of toys. The pieces were all very brief which was really nice, and despite the fact that drums alone might seem limited, each piece was very different from those that came before – sound loud and frenetic, others quiet, one actually managed to elicit quite a bit of laughter from the audience, which I’m hoping was a good thing. Côté used the mics as drum sticks to great effect - creating all kinds of unusual sounds of tension and release, friction, surprisingly dynamic feedback that almost made one think of the expressiveness of the Theremin, and there were moments of all out, distorted, banging-on-a-drum fun. The feedbacking drums were paired up really well with Ceccarelli’s bowed playing. A great set.

Fred Frith and Danielle Palardy Roger were up second and once they began playing, they did not stop until their set was finished — a really long and well laid-out musical journey with lots of highlights and unexpected twists and turns. Fred pulled out every trick in the prepared guitar book - from the old twanging drum stick between the strings to an array of effects and looping pedals and beyond. But with his mastery of music and his instrument it never felt like he was depending on the gimmicks, more using them to great effect to build up a complex, multilayered soundscape and every-evolving composition. He was well matched up with Danielle Palardy Roger, who also had all of the extended techniques and managed to make great music with them. They both seemed to be following their own paths the whole way not interacting too much like some free improv players do, creating a sort of back and forth conversation type of sound, but their individual paths meshed perfectly well together, so maybe they were both just following the music more than their own instrumental egos. Adding an extra oomph to the coolness of the show was when first Fred Frith let loose a barrage of percussive and wailing tribal vocals, followed a little later on by vocal sounds along similar lines from Danielle Palardy Roger. Took it to another level beyond the often staid confines of stylized free improv into something more about music in a broader and more sophisticated sense.

An awesome concert, and I think it was part of a recording project so it may see the light of day on CD in the not too distant future…

An awesome concert…