Victo Records (a.k.a., Les Disques Victo) is the label of the Victoriaville International Festival Musique Actuelle (Canada). For more information about the label, go to

Konrad Bauer Toronto Töne (cd017)

Konrad Bauer Trio Three Wheels-Four Directions (cd023)


Anthony Braxton Ensemble (Victoriaville 1988) (cd07)

Two compositions from a group featuring Evan Parker (ts), Bobby Naughton (vibraphone), Joelle Leandre (b), Gerry Hemingway (d), Paul Smoker (tp), George Lewis (tbn) & Braxton (ss, sopranino sax, as).

Anthony Braxton/Derek Bailey Moment précieux (cd02)

Anthony Braxton & Fred Frith Duo (Victoriaville) 2005 (cd100)

Anthony Braxton Quartet (Victoriaville) 1992 (cd021)

Braxton (as, sopranino sax, cl, bcl), Crispell (p), Dresser (b), Hemingway (d); four original Braxton compositions + "Impressions."

ANTHONY BRAXTON SEXTET (Victoriaville) 2005 (cd098)

"A radical thinker in a class by himself, Braxton writes compositions that represent a complex view of the world. One look at his charts -- which combine standard notation, passages of notes in specific colours and unique graphical representations -- and it's clear that there's an advanced process in play. And watching the sextet perform, witnessing the kind of concentration and attention required by everyone with everyone, provided definite insight into how Braxton's revolutionary compositions make the transition from written page to performance. With a variety of extended techniques used by all to broaden the sonic palette, '345' was a stunning new piece of music that continues to assert Braxton as one of the great musical thinkers of the past forty years. His compositions demand nothing less than complete commitment by the audience, and it was clear that those in attendance were totally engaged. A remarkable piece performed by an outstanding ensemble and a clear festival high point." -- John Kelman

Hélène Breschand/Jean-François Pauvros Sombre (cd095)

Chris Burn Music for Three Rivers (cd050)

Dave Burrell/David Murray In Concert (cd016)

CCMC aCCoMpliCe (cd063)

Eugene Chadbourne/Henry Kaiser The Guitar Lesson (cd064)

"Two of today's most important guitarists meet for the first time in an homage to the great Derek Bailey." Studio recordings from '97/98, made in Oakland, CA; 2 of the tracks are electric duets, the rest are acoustic.

Eugene Chadbourne/Paul Lovens Patrizio (cd046)

Duets for Chadbourne (dobro, electric banjo) and Lovens (drums, cymbals), live in the USA 1996. Focusing on Eugene's more serious improvisational persona, this is a spirited collection of sound creation.

Eugene Chadbourne/René Lussier L'oasis (cd084)

"Eugene Chadbourne found the perfect partner in Rene Lussier. Chadbourne has phenomenal technique, a precocious sense of humor, and a willingness to spar with just about anyone. Lussier has the technique and wit to match Chadbourne, and also shares his love for folk roots. So after the two retreated to Lussler's farm for a few days to work out a set, they came up with a blistering mix of thorny free improvisation, blinding flat-picked duets, refracted bluegrass, warped country blues, and skewed country swing. Their set had the relaxed feel of a front porch party as the two switched off from steel string guitar, electric guitar, National Steel, and banjo. Licks were traded back and forth, full of crackling energy and stoked abandon. Musical genres were gobbled up and shredded through a cracked sensibility shared by the two."

Xavier Charles/Diane Labrosse/Carole Rieussec/Jean-Chriatophe Camps/Martin Tétreault Tout le monde en place pour un set américain (cd090)

"The most successful was the Saturday afternoon concert by Diane Labrosse (electronics), Martin Tétreault (turntables etc), Xavier Charles (clarinet and electronics) and French duo Kristoff K. Roll (household objects). The five were placed on a platform in the middle of the Colisëe, and the audience was free to walk around and observe the musicians at close range, which de-mystified the process. The improvisation was powerful and atmospheric, dominated by Labrosse's inventive use of samples taken from around her house. Tetreault was drolly inventive, while Charles and KK. Roll added splashes of colors."

Nels Cline / Andrea Parkins / Tom Rainey Downpour (cd104)

ONE OF THE HIGHLIGHTS OF THE 23d FIMAV 2006. Nels Cline: electric guitar; Andrea Parkins: accordion, piano, keyboards, electronics; Tom Rainey: drums, percussion.

“ A strong trio, again with two homeys, Nels Cline on electric guitar with devices (from L.A. and currently in Wilco), Andrea Parkins on accordion and sampler, and Tom Rainey on drums. This trio plays mostly long pieces which develop slowly with Nels and Andrea repeating fragments as they build and mutate their textures. Tom Rainey is the perfect man for this job as he weaves his percussive waves, helping to navigate the rapids that Nels and Andrea weave together. There is an unexpected hard rocking punk explosion midset, which seems strange from Tom Rainey, yet not out of character from Nels who has worked with Mike Watt (from the Minutemen), Lydia Lunch & Geraldine Fibbers. What I dig about this trio is that there is no leader here, each member is an integral part of the sound and helps to determine the direction of each piece. They each seem to pass ideas back and forth and build upon each idea, turning it slowly into something else.” —Bruce Gallanter, Downtown Music Gallery

 “Rainey was a surprise hero of this year’s FIMAV, a critical one-third of an improvisational encounter with guitarist Nels Cline (longtime L.A. “out cat” getting wider play through his gig with Wilco) and Andrea Parkins, accordionist/pianist with a textural flair. Somehow, Rainey was the primary source of musical mojo, whether venturing abstractly or setting up inventive, fragmentary bursts of groove and rhythmic force. A musician trapped in a drummer’s body!” —Josef Woodard, Santa Barbara Independant
(bar code: 7 77405 01042 1)

Lindsay Cooper Oh Moscow (cd015)

Paul Cram Orchestra Campin Out (cd078)

Marilyn Crispell (quintet) Circles (cd012)

Marilyn Crispell Labyrinths (cd06)

Solo piano from 1987.

J.A. Deane Nomad (cd035)

Jean Derome Confitures de Gagaku (cd05)

Jean Derome-Louis Sclavis Quartet Un moment de bonheur (cd087)

"When Louis Sclavis and Jean Derome joined artistic forces for a Victoriaville concert in 2001, it was a meeting on turf both familiar and alien. That sort of duality is at the heart of an artistic adventure all about the pursuit of, and also selective resistance to, balance. It was a transcontinental first encounter between musicians who knew of each other, who shared mutual respect, and are known to cross idiomatic borders. The virtuoso and range-free clarinetist Sclavis & Montrealer Derome (flute, alto sax, guimbarde). The conference of disciplined free spirits resulted in one of the clear highlights of that year's FIMAV, and a rambling musical landscape with proper disregard for genre or strict adherence to structure."

Dick/Brennan/Patumi Aurealis (cd052)

Michel Doneda/Achiary/Sawaï Temps Couché (cd055)

Michel Doneda/Erik M/Jean-Marc Montera NOT (cd068)

DOPPELMOPPEL Aventure Québécoise (cd065)

Mark Dresser/Fred Frith/Ikue Mori Later... (cd070)

Mark Dresser/Denman Maroney Duologues (cd073)

André Duchesne L' ou 'L (cd10)

Duchesne is a guitarist, previously associated with Conventum and Les Quatre Guitarists. The pieces here are for string quartet, sax quartet, guitar quartet, etc.

Lisle Ellis Elevations (cd027)

Bassist Ellis is best known perhaps for his free-form work with pianist Paul Plimley. Here, he's featuring material he's written for a saxophone quartet (Glen Spearman, Larry Ochs, Joe McPhee, Christopher Cauley); w/ a cover of Ayler's "Mothers," another track dedicated to Jimmy Lyons, you can imagine the spirits invoked here; dense Mingus-like detail-groundwork upon which pour the lines of the aforementioned four masters.

Erosonic Mystery Theatre (cd085)

David Mott : saxopbone baryton; Joseph Petric : accordeon et bande. "In 1994 Joseph Petric approached David Mott and suggested the idea of a unique duo which would explore new compositional, improvisation and artistic terrain. In the baritone saxophone discography, this disc reinforces the well known work of David Mott as he uses an extended registral spectrum, circular breathing, vocal modulation, multiphonics and timbral shifts. Mon has long been active as a composer and performer in an inclusive sonic exploration that allows for a greater range of artistic expressivity. In the accordion discography, this disc establishes Petric as the first accordionist to achieve an inclusive art of performance. This is based on the big picture integration of improvisation, interpretation, extended instrumental technique, vibrato and the introduction of his instruments prototypical accordion sound. Petric's aesthetic allusion to sonic symbolism through references to both vernacular and past musics (semiotic coding), provides the foundation for the enormous range of artistic expressivity on the accordion."

The Far East Side Band Urban Archaeology (cd037)

Studio recordings of a quartet of Jason Hwang (electric violin), Sang-Won Park (alang, kayagum), Joe Daley (tuba, electronics), Yukio Tsuji (shakahachi, perc.). Nicely evolving Eastern-saturated dreamscape music of subtle transformations.

Fred Frith/Jean-Pierre Drouet/Louis Sclavis I dream of you jumping (cd072)

Fred Frith/René Lussier Nous Autres (cd01)

Satoko Fujii/Tatsuya Yoshida Toh Kichi (cd083)

"Compatriots Satoko Fujil and Tatsuya Yoshida thrillingly demonstrated the virtues of Speed Metal Improv. The piano/drums duo threw itself headlong into a wild and bogglingly precise exchange of hammering percussion and jabbering voices—part battle, part hyperactive dance. A flawless composite of jumpcuts, the set spanned the musical map from hardcore and Metal to boogie-woogie and tango, ending with a hilarious impromptu rendition of 'Girl From Ipanama'."

FUSHITSUSHA Withdrawe, this sable Disclosure ere devot'd (cd060)

The trio of Keiji Haino (guitar, voice), Yasushi Ozawa (bass) & Ikuro Takahashi (drums), recorded live at Victoriavilla 5/16/97. "With reference to the title for the Fushitsusha album, Keiji Haino takes a lot of care and time over the selection of titles for his albums. He specifically asked that this title be translated into a type of English that would be reminiscent of medieval language. As going back that far would render the title mostly incomprehensible to the majority of listeners, we eventually came to the compromise of using Elizabethan-style (Skakespearean, etc.) grammar, spelling and diction. Within those parameters, I believe that the title makes grammatical sense and communicates both the feel and meaning of what Keiji wants to say." --Alan Cummings (translator).

Charles Gayle Unto I am (cd032)

Gianni Gebbia - Terra Arsa Il Libro Degli Eroi (cd051)

Heiner Goebbels/Alfred 23 Harth Live à Victoriaville (cd04)

Ben Goldberg Eight Phrases for Jefferson Rubin (cd057)

Hard Rubber Orchestra Cruel Yet Fair (cd059)

Hard Rubber Orchestra Rub Harder (cd080)

Lars Hollmer Looping Home Orchestra (cd024)

Homler/Waegeman/Fajt Corne de vache (cd047)

Henry Kaiser/Mari  Kimura/Jim O'Rourke/John Oswald Acoustics (cd025)

Henry Kaiser/Jim O'Rourke Tomorrow knows where you live (cd014)

Guitar improv duets (plus one solo track from each), from 1991.

Mari Kimura/Roberto Morales Manzanares Leyendas (cd069)

"Mari Kimura, violin; Roberto Morales Manzanares, flutes, piano, Veracruz harp. Manzanares' choice of instruments and techniques reveals a panoramic sweep extending back to the vast pre-Columbian civilizations of the Central and South Americas, back across the treks over the Bering Strait, and on rafts over the Pacific, back to Asia and forward again on all circuits. In Kimura's extended violin technique, another look backward, through the veil of the European academy and through the language of gagaku and noh. They finally meet in an illuminated place outside of all location, temporal or spatial." —Elliot Sharp.

King/Moss/Otomo All at once at anytime (cd029)

Boris Kovac Anamnesis-Ecumenical Mysteries (cd039)

Boris Kovac East OFF Europe (cd062)

Peter Kowald/William Parker The Victoriaville Tape (cd088)

Kowald (contrabass, voice) & Parker (contrabass), recorded live at Victoriaville, 5/19/02. "Hear a sound become a sound respond to sound if you play low I'll play high if you pluck I'll bow. Paint with sound if you walk I'll solo on top then I'll walk and you'll solo on top. Listen to the silence that accompanies this history this journey of music see the colors hear the colors of the world 8 strings dancing over the dark sunset use your voice down the low mountains of E now swing! sing! swing! sing! like old new now moment song second chance every second a second a chance rosin dust field of flowers again and again and again sarangi fiddle koto kumungo violin cello banjo a string village his term throwing paint across the sky like rainbows echoes of voices looking for peace no matter what they say the blind and deaf scouts called critics they know little about this ritual or this brotherhood of circles and horizons they were not there when the crows sang they were not there when the temples were built nor were they there when the temple fell now they scramble to claim the broken pieces they cannot put back together the sound soon stops then goes on and on and on forever. And then the tears came and heaven opened. Uncle Petey goes up to join the band in the sky he is greeted by Jimmy Blanton his face smiles now sunshine eternal sunshine. —William Parker, February 2003.

Urs Leimgruber/Marilyn Crispell/Joëlle Léandre/F. Hauser Quartet Noir (cd067)

Urs Leimgruber/Jacques Demierre/Barre Phillips Wing Vane (cd079)

René Lussier & NOW Orchestra Le Tour du Bloc (cd036)

Christian Marclay/Thurston Moore/Lee Ranaldo Fuck Shit Up (cd071)

Christian Marclay (tables tournantes et disques), Thurston Moore (guitare et amplificateur), Lee Ranaldo (guitare, 'krackelbox' et divers objets). "Feedback rose and fell in heaving crescendos, drum sticks were inserted between strings, and for an hour and change, a wall of beautiful noise was erected, then smashed to bits, with no pesky backbeats or melodies to upset mesmeric abandon." Recorded at the Victoriaville Festival on 5/24/99.

Masaoka Orchestra What is the difference between stripping and playing the violon? (cd058)

"My impetus for founding this 16-piece orchestra was based on the desire to have a hybridized, inter-cultural, electronic-friendly, inter-media orchestra that could perform my compositions. In addition, I was developing specific techniques involving composition, improvisation, and conduction that involved the entire body in conducting, similar to the conducing methods of my Japanese Gagku teacher. For example, I carved out the shape of a sine wave with one arm and with the other arm angled a square wave, signaling to the electronic musicians to generate white noise—which is sine and square waves together." —Miya Masaoka.

Merzbow/Pan Sonic V (cd089)

Recorded live at Victoriaville, 5/20/02; one 68-minute piece performed by Masami Akita, Mika Vaino & Ilpo Vaisanen. "The festival's closing act, Pan Sonic vs Merzbow, was worth the long wait. Their complete absence of stage presence notwithstanding, the trio orchestrated glorious cascades of white noise that sporadically collapsed into fat dirty beats -- a gutrumbling excursion into the inner depths of sound and an indication of where the true spirit of improv lives in 2002."

Pino Minafra Canto Libero (cd077)

Pino Minafra Sudori (cd034)

Phil Minton Quartet Mouthfull of Ecstasy (cd041)

Roscoe Mitchell Songs in the wind (cd11)

Thurston Moore Piece for Jetsun Dolma (cd045)

Diedre Murray/Fred Hopkins Firestorm (cd20)

Musci/Venosta/Mariani Losing the Orthodox Path (cd049)

MY CAT IS AN ALIEN IL SUONO VENUTO DALLO SPAZIO (The Sound That Came From Space) (cd101)

MAURIZIO OPALIO: cosmic guitar, mini xylophone, meteoric percussion 
ROBERTO OPALIO: astral guitar, space toys, toy piano, extra terrestial electronics, harmonica, planetary percussion, voice.

Each album or performance by MY CAT IS AN ALIEN is an invitation to leave on a cosmic journey, without resorting to the numerous clichés of the space music genre. Think instead of a synth-less Ash Ra Tempel coming across the quiet improvisation current. Think of stripped-down music made of looped droning guitars, caressed percussion, toy instruments and toy microphones being used while boldly disregarding all printed warnings. Think of a cosmos glorifying its vacuous interstellar space, the silence that amplifies the smallest particles of sound. Or don’t think at all and just let yourself be swept away.

New Winds Digging it harder from afar (cd028)

New Winds Potion (cd053)

NO-NECK BLUES BAND Nine For Victor (VICTO 103)

exclusive release of material recorded live at the Musique Actuelle de Victoriaville Feastival 2005  
(Bar code: 7 77405 01032 2)

Non Credo Happy wretched family (cd033)


"I regard the NOW Orchestra as one of the finest large creative ensembles active in the last decade." —George Lewis, Earshot Jazz

PALINCKX It's Frontal Dog (cd061)

Charles Papasoff International Baritone Conspiracy (cd038)

Evan Parker/Sainkho Namtchylak Mars Song (cd042)

Duos recorded in Toronto in 1996 between Evan (soprano and tenor saxophones) and the amazing female vocalist from Tuva, Sainkho. "Having listened to Evan for close to 25 years in a multitude of configurations, there has always been surprise and challenge in his ever developing music; the solo music especially. If one investigates the recordings, mostly soprano, it becomes apparent that he is gradually releasing all the inner voices contained in his horn, and this time there appeared two distinct lines, overlapping, in parallel, joined in harmonics. The inclusion of the tenor in his solo music has opened up yet another avenue, perhaps for even the simple reason of it having a curved bell and being an octave lower. Although I had heard Sainkho Namtchylak recordings on Leo and FMP, I was quite unprepared for the live experience. Her arsenal of sounds come not as trick singing, but story-like, at times vague notions of Madame Butterly enter my thoughts, another gurgling dialogue of happy babies; and then so low and deep in the throat as to create a definite shiver. When they joined the saxophone and voice together, they existed in the space between my ears rather than outside in, filling my brain. Astounding music." —Bill Smith.


"Evan Parker's trio with Paul Lytton and Alex Schlippenbach (swapped in for bassist Barry Guy), and Peter Brötzmann's trio with Hamid Drake and William Parker, were on North American tours at the same exact time in Spring, 2003. Why not arrange a meeting for them at FIMAV? This, then, was the first time that this grouping performed together, the debut of the Evan Parker/Peter Brötzmann supertrio. The historic results are here for you to hear, testament as much to the integrity of the two working trios as to the rombinatorial force of the sextet. Naturally, this says almost nothing of the music itself. It is, in its own way, both the product of this criss-crossing history, and also a single night's ephemeral moment. Improvisation is both of those at once. It condenses complex histories into a simple dictum: make it mean something here and now. There and then, at FIMAV 2003, that's exactly what they did. The two identities here are the two trios. What we hear is what happens when they square off and play with (and for) one another. And for us. Continuing the crissing and crossing of this geneological line." —John Corbett, Chicago, August 2004.


Featuring Roy Campbell, Sabir Mateen, and others.

Recorded live at the Musique Actuelle de Victoriaville Feastival 2005 w. William Parker (bass, composition, direvtion)/Sabir Mateen (tenor sax, alto clarinet)/Darryl Foster (tenor & soprano sax)/Rob Brown (alto sax)/Charles Waters (alto sax, clarinet)/Dave Sewelson (baritone sax)/Roy Campbell (trumpet)/Matt Lavelle (trumpet)/Lewis Barnes (trumpet)/Steve Swell (trombone)/Alex Lodico (trombone)/Masahiko Kono (trombone)/Dave Hofstra (tuba)/Andrew Baker (drums)  
(Bar code: 7 77405 01022 3)

Zeena Parkins URSA'S Door (cd018)

Barre Phillips Camouflage (cd08)

Barre Phillips/Joëlle Léandre/William Parker/Tetsu Saitoh After You Gone (cd091)   

Paul Plimley/Lisle Ellis/Bendian Noir (cd022)


"Three pianists -- Cecil Taylor, Marilyn Crispell and Paul Plimley -- and an alto saxist -- John Oswald -- gathered to play, in a triple-header that meandered blissfully and chaotically, and showed us a vision of measured abandon. Freedom rang out, amidst floating bits of structure and melody, and it also stretched out over three hours. Obviously, an intensely personal expression is involved in the work of solo improvisers on this high of an order. Yet there is also a negation of the usual musical hierarchies, which makes this music so brimming with a kind of idealism, unveiled in very real time."

Paul Plimley Trio Safe-Crackers (cd066)

Studio recordings by Plimley (piano), Lisle Ellis (bass), Scott Amendola (drums). "The Trio seeks to expand the dimensions of composed and improvised music making. This recording focuses on the elements of beauty, rhythm, and the diversity of ways in which piano, bass and drums can create telling textures and how the leading through (development) of each piece can be distributed in continually shifting ways between each player."

Quartet Noir  Lugano (cd096)

Lee Ranaldo/William Hooker Clouds (cd054)

Recorded live in Victoriaville 5/19/97. Ranaldo (guitar, synthesizer, tape and voice), Hooker (drums and voice), plus guests Jim O'Rourke (Farfisa organ and electronics) and Gianni Gebbia (saxophones).

Yannick Rieu Sweet Geom (cd030)

AnneMarie Roelofs The Waste Watchers (cd048)

A Frankfurt-based trio, live at Victoriaville 1996: Roelofs (trombone, violin, trumpet), Johannes Kramer (guitar, electronics, tapes), Dirk Marwedel (saxophones).

Rova Bingo (cd056)

Rova Ptow!! (cd040)

Rova Resistance (cd086)

"Ignore the passing of time as a measure of anything real. Twenty-five years and counting is a milestone, but really only means they've had more opportunities and experiences -- commissions, recordings, performances, musical and personal challenges -- all of which affect the growth patterns, the infrastructural dynamics, the attitude and identity of the ensemble as ensemble. Rova's music exists within this 'continuous present'-- any other interpretation would arbitrarily lessen their previous, valuable accomplishments. And the catalogue they have composed is large, singular, significant. This newest chapter is the equal of any, an affirmation of continuity, of what poet Robin Blaser called the commotion of belief. Beginning again and again." --Art Lange.


Mario Schiano Social Security (cd043)

Elliott Sharp/Orchestra Carbon Abstract Repressionism: 1990-99 (cd019)

Elliott Sharp/Zeena Parkins Blackburst (cd044)

Elliott Sharp/Zeena Parkins Psycho-Acoustic (cd026)

Slawterhaus Live (cd013)

Aki Takase/Konrad Bouer News From Berlin (cd081)

Cecil Taylor/Bill Dixon/Tony Oxley Taylor/Dixon/Oxley (cd082)

Cecil Taylor: piano, Bill Dixon: trompette, bugle, Tony Oxley: batterie, percussion. "A summit meeting of historical proportions, the magic triangle of Cecil Taylor, Bill Dixon and Tony Oxley belies the contention that Musique Actuelle is a young man's music alone. In this cutting edge world premiere concert, three masters with more than 40 years of experience each proved that they are as forward looking now as they were when they began."

Richard Teitelbaum/Carlos Zingaro The sea between (cd03)

Keith Tippett Une croix dans l'océan (cd031)

Beautiful solo piano set, from the '94 Victoriaville Festival. It mixed prepared-piano percussive trance links and higher-key elevations. "By placing polished stones inside the Baldwin piano, he produced some of the most radiant metallic tones ever beamed from the instrument. By spending half the show discovering the beauty of the piano's interior (which included a set of enormous chimes) and the other half manufacturing abrasive, yet delicate tones, Tippett proved that, indeed, he's been wrongfully overlooked by most of the jazz community." —Exclaim magazine.

Various (Compilation 1989) Dix improvisations-Victoriaville 1989  (cd09)

Wolf Eyes & Anthony Braxton Black Vomit (cd099)

Nathan Young, John Olson, Mike Connely (electronics, etc.), Anthony Braxton (saxophones)