1. Mr. Chavez Goes to New-York (149:43)

Philippe Hode-Keyser – drums, elctronics, percussions
Marc Couroux – keyboard, powerbook, tapes, electronics

Composition by: Keyser-Couroux

Recorded live at the Casa del Popolo, Montréal
September 21, 2005
Engineered by: Christopher Murtagh

Cover photo by: Philippe Hode-Keyser

Produced by: Keyser-Couroux 2005 – All rights reserved

You may listen and/or purchase the CD here:




1. Watergating
2. “Mr. Dean’s Opus”

Philippe Hode-Keyser – drums, elctronics, percussions
Marc Couroux – keyboard, powerbook, tapes, electronics

All ompositions by: Keyser-Couroux

Recorded live at the Casa del Popolo, Montréal
June 23, 2004
Engineered by: Christopher Murtagh

As part of the: SUONI PER IL POPOLO

Produced by: Keyser-Couroux 2004 – All rights reserved

You may listen and/or purchase the CD here:



1. The Journey of the Homo sacer (69:05)

Philippe Hode-Keyser – drums, percussions
Marc Couroux – keyboard

with special guest:
Paul Dolden – electric guitar

Composition by: Keyser-Dolden-Couroux

Recorded live at the Théâtre La Chapelle, Montréal
November 3, 2001
Engineered by: ()

Cover photo by: Philippe Hode-Keyser


Produced by: Keyser-Dolden-Couroux 2001 – All rights reserved

You may listen and/or purchase the CD here:

Photo by: Cristina Moarcas

Philippe Hode-Keyser

Born in Montreal in 1956, Philippe Hode-Keyser studied classical percussion at the Cégep de Saint-Laurent and jazz percussion at the Creative Music Studio (New-York), Concordia and McGill Universities (Montréal). His principal teachers were Barry Altschul, Pierre Béluse, Karl Berger, Ed Blackwell, George Cartright, Jerome Cooper, Gerry Danovitch, Don Davis, Jack DeJohnette, Charles Ellison, Oliver Lake, Michael Lytle, Art Maiste, Jacques Masson, Roscoe Mitchell, Famoudou Don Moye, Guy Nadon, Jean-Guy Plante, Claude Ranger, Ingrid Sertso, Wadada Leo Smith. In 1983, he received a Bachelor, Master and Doctorate degree in Jazz Studies (New Paltz State University, Concordia and McGill Universities). He performed alongside musicians such as Carla Bley, Tim Brady, Anthony Braxton, Alain Caron, Marc Couroux, CMS Orchestra, Michel Cusson, Lorraine Desmarais, Paul Dolden, Michel Donato, Charles Ellison, Lori Freeman, Satoko Fujii, D’Arcy Philip Gray, James Harley, Fred Henke, Andrew Homzy, Phil Hornsey, Tim Jackson, Oliver Lake, Clemens Merkel, Roscoe Mitchell, Mark O’Leary, Michiel Schrey, Wadada Leo Smith, Guy St-Onge, Simon Stone, Dave Turner, and Jean-Pierre Zanella.

At age 20, he is considered a pioneer since he was the first to implement a jazz percussion program at the college level. He taught jazz percussion at the Cégep de Saint-Laurent (1977-2012), Cégep Marie-Victorin (1989-1993), Saint-Luc High School (1997-98) and Concordia University where he teaches improvisation led (conduction) in the Soap series.

He has conducted the Cégep Saint-Laurent Big Band (1982-2000), Saint-Luc High School large jazz ensemble (1997-98), l’ensemble multidirectionnel CSL (2000-2005) and le grand ensemble jazz du Cégep de Saint-Laurent (2005-2012). He founded 1) the small ensembles Arlequin Jazz (1975), United Press (1987), Rubber Soul and The Zbrass (1990), Keyser-Couroux (1993), Keyser-Dolden (2001), ADAPPS (2016), Kappa Guitar Quartet (2016), 2) the large ensembles PKBB (1991), Kappa (1996), Hodekestra 1 (2001), Hodekestra 2 (2005), The Third Stream Ensemble (2012), The Grand Jawaka (2015), The Don Ellis Project (2016), 333 ToutArtBel (2017), The Baird Hersey Project I (2018), The Third Stream Project I (2019), The Don Ellis Project II (2020), 3) the festivals Ho Festival & Series (2002), Radicaliberté (2003), Kollectif Ho (2005) 4) the experimental school PAAC (Progressive and Alternative Arts Center) (2006).

In 2016, as part of the Creative Music Symposium held at the University of Guelph (Ontario), he gave two conferences and presented a concert with composer, professor James Harley. As a peer assessor, he was part of two committees (Project Grants and Multi-Year and Annual Grants) for the Canada Council for the Arts.

From 1980 to 2012, he has received over forty awards from the Canadian Stage Band Festival, Festival des Harmonies du Québec, Festival des Harmonies et Orchestres Symphoniques du Québec, Jazzfest des Jeunes du Québec, Musicfest Canada, National Association of Jazz Educators (NAJE) (Detroit), Yamaha Band Explosion (Toronto) and the Yamaha Band Explosion World Final (Tokyo). He has earned from the Pro-Mark Corporation, the Certificate of Recognition in appreciation of his distinguished service and outstanding dedication to teaching jazz percussion (1993) and a sponsorship from the prestigious Swiss company, cymbals and gongs, Paiste (1994).

From 1996 to 2018, he was awarded numerous grants from the Canada Council for the Arts (CCA), Conseil des Arts et Lettres du Québec (CALQ) and the Society of Composers, Authors and Music Publishers of Canada (SOCAN).

From 1994 to 2018, he produced nine recordings with Keyser-Couroux (3+3, Theatre of Entropy, Watergating, etc..) and ten recordings with the Kappa ensemble (Kappa, bien serré, Sound Off, etc..), participated to the Kore inaugural concert, was a board member of the Innovations en concert production group, percussionist for the L’ivresse de la vitesse 1 & 2 compact discs reissues, the recording of Entropic Twilight by composer Paul Dolden and the soundtrack for the animated short “C-Note” by filmaker Christopher Hinton for the National Film Board (NFB) (http://www.nfb.ca/film/cNote).

From 1980 to 2012, he participated as a conductor and/or percussionist to the Canadian Stage Band Festival (Hamilton, Montreal) Festival des Harmonies et Orchestres Symphoniques du Québec (Trois-Rivières, Sherbrooke), Festival des Musiques au Présent (Québec), Montreal International Jazz Festival, French Broadcasters Festival (Béziers), Festival Évolutions (Montréal), JazzFest des Jeunes du Québec (St-Hubert), National Association of Jazz Educators (NAJE) (Detroit), Les Coups de Théâtre (Montréal), MusicFest Canada (Ottawa, Québec, Toronto, Edmonton), Open Ears (Kitchener), Suoni per il Popolo (Montréal), Yamaha Band Explosion (Toronto, Tokyo).

He’s currently pursuing his studies in philosophy at the Montreal University.

Marc CourouxPhoto by: Juliana Pivato

Marc Couroux

Marc Couroux is an interdisciplinary artist whose work is rooted in his experiences as a contemporary music pianist. Acclaimed as “the Glenn Gould of contemporary music” (Musicworks), he won the OPUS Award of the Conseil Québécois de la Musique in 1998 for his work in disseminating Canadian piano music around the world (Amsterdam, Brussels, Cologne, Frankfurt, Glasgow, Ludwigsburg, Paris). He is co-founder, with Michael Oesterle, of Ensemble KORE, which has been producing concerts in Montreal since 1997 that are dedicated to recreating a living relationship between the composer and the listener.

Professor Couroux’ early piano performance works centred on the reinvention and renewal of the audience-performer dialectic, challenging the received notion of the performer’s physical presence within the socio-political confines of the public event. His pieces include the monumental American Dreaming John Cassavetes (1999) and le contrepoint académique (sic) (2000), a work described as “controversial”, “demented” and “illuminated”, that was featured at the Festival International de Musique Actuelle de Victoriaville.

As a video/sound artist, Professor Couroux is concerned with creating metaphorical spaces for the exploration of socio-political issues. His Rockford – Keep on Rolling superimposes images from the 1970s TV show onto a power grid, reflecting the other Los Angeles, plunged into rolling blackouts during the energy crisis of 2000. Rockford has been presented at a number of international festivals including the Club Transmediale in Berlin

Blowback at Breakfast: a Dr. Kissinger Mystery (2003) for piano and 17 mini-speakers creates a Watergate-era environment centred around wiretapping and surveillance, with Henry Kissinger as main protagonist-pianist, dryly reciting congressional testimony while simultaneously leaking vital secrets to the listener. The large-scale audio-video performance work Watergating (Selected Hearings), presented at the 2006 Vasistas festival in Montreal, investigates concepts of hearing and listening through the lens of the 1973-4 Watergate scandal in the US.

In 2007, Marc Couroux launched two offshoots of Watergating. Carpenters et al, Downey Lyrical Holdings, a Real-Time System as of March 29, 2007, a piece concerned with exploring, through non-technological means, concepts emanating from and associated with technology, was performed by neither/nor in Toronto. The Fetishization of Music and the Regression in Listening, presented in Edmonton as part of Latitude 53’s Visualeyez festival of interdisciplinary art, was a performance intervention designed to operate a form of Situationist détournement on the muzak environment.

Professor Couroux is developing a six-hour audio-video installation titled 68/70 (blindspots) (truth 24 times per second). Several sections of the work were screened in 2009 at CounterPULSE in San Francisco, in an event organized by the interdisciplinary organization NexMap.

Professor Couroux has been artist-in-residence at Princeton University and visiting professor at the University of Alberta and Dartington College of Arts, UK, and has lectured on music and video art at McGill and Concordia Universities, Montreal; Stony Brook and the Eastman School of Music, NY; York University, UK; and the Royal Conservatory of The Hague in the Netherlands. He joined York University’s Faculty of Fine Arts in 2006.

Keyser-Couroux Conspiracy


Friday, October 5th, 2012

Philippe Hode-Keyser – electronics, percussions, voice
Marc Couroux – keyboard, samples, tapes, upright piano, electronics

It is our great pleasure to invite you to an evening-long music-sound/ installation/ performance by the KEYSER-COUROUX CONSPIRACY.

Philippe Hode-Keyser (chief ideologue for the underground electric big band Kappa, and luminary drum guru of the Montreal jazz scene) is in town for a week-long residency where we (PHK and MC) will be working out ways to slip the not-quite -background and the not-quite-foreground around and into each other, in the hopes of discovering hidden pockets of not-yet-captured noise (of both cochlear and non-cochlear varieties).

(Expected arsenal: horizontality of field recordings, analog  keyboards, noise-makers, bodily sounds, ambulatory boomboxes).

If this sounds at all compelling, you are welcome to spend any amount of time in our company between 7 PM – 12 AM.

325, St Johns Road (at Beresford) in the JUNCTION (one st. West of Runnymede, one st. South of Dundas W)

There will be libation and dessicated vegetable matter – feel free to bring anything you like to share.

Looking forward to seeing you all!



Wednesday, March 15, 2006 – 9 PM
Casa del Popolo, Montréal
4873, St-Laurent blvd. (below St-Joseph blvd.)

BLIND AMBITION, the remake

Philippe Hode-Keyser – drums, amplified gadgetry, moogerfooger
Marc Couroux – keyboards, samplers, no video, gates or simulacra

I think this is the right idea. And not very romantic. Sort of a reverse-spin. The material is complexified rather than dumbed-down. The out-of-control side would happen by accident. Then what? Some catastrophic patches? A sort of deus ex machina. A Karl Rove-like character, as in heres some filler material that has proven to be successful. Make it look good. This should happen entirely metaphorically. However, the use ofantiquated FBI documents from a bad time in history should be embraced. Instant replay as it were, Howard Cosell-like. Another way to distract attention away from some potential problems, using the metaphorical potential of the glitch as carrier of truth, which would in some sense save the musician from getting into structural hot water. Perhaps a couple of gross jump cuts might make a kind of gauche point. Think about the standard concert practice of dealing with screw-ups. You cover them up. Resistance? No problem. No one is going to take apart your chronology. Should there be catastrophic clues? This piece is a slab of non-excerptable music. Its not a last performance.





Casa del Popolo, Montréal
Wednesday, September 21, 2005 – 9 PM
4873, St-Laurent blvd. (below St-Joseph blvd.)

Including such time-worn standards as the “Neo-Con Shuffle”, “Tom Delayed”, “the Wolfowurlitzer”, “Robertson Crusoe” and other fragile, encrusted ditties. Expediently rendered by Marc Couroux on watergated estimates, and Philippe Hode-Keyser on standard entrapments, with an adjuster monitoring the entire event for possible loops. Both “artists”will also be “playing” the electronics. Also, expect some obscure conversions of recent history as well as concomittant historicization of obscure converts. Plainly speaking: accretions, man, accretions.

Philippe Hode-Keyser – drums, electronics, percussions
Marc Couroux – keyboard, Powerbook, tapes, electronics

“Noise prophets? New Psychedelicists? Krautrockists? Conceptual Grifters? Tricksters or Charlatans? It doesn’t matter. All the monikers in the world cannot begin to conjure up what a truly dumbfounding experience it is to witness the sonic equivalent of“hitting the floor running and getting stuck in the molasses of deconstruction”. These guys are never the same twice. In fact, I’m not even sure they’re the same people I saw last time. Their music requires radical perspectival reorientation of the most perverse kind.”

Musiques à loft

Presented by the Montreal Biennale and ALSOP architects
part of Montréal’s installation: Creative City
250, Saint-Antoine Street West (former building of the Gazette)

Event 5 :

“The Politics of Recognition or the Recognition of Politics”

October 24, 2004 – 16 h

Music and vidéo : Free Radicals
Marc Couroux (video artist-musician) : Skulking. Peripheral insights into the downfall of Richard Nixon
Thérèse Mastroiacovo (video artist) : we’re trying to, WW (1975-2004)
Juliana Pivato (video artist) : Company
Philippe Hode-Keyser, Marc Couroux: Watergating

Admission :
Adults= $5
Students= $2,50 (including exhibitions)

L A B I E N N A L E D E M O N T R É A L 2 004
Tél. : (514) 288-0811
Fax : (514) 288-5021
Contact : ciac@ciac.ca


Wednesday, June 23, 2004 – 21h
Casa del Popolo, Montréal
4873, St-Laurent blvd. (below St-Joseph blvd.)

As part of the ongoing : SUONI PER IL POPOLO

Philippe Hode-Keyser – drums, electronics, percussions
Marc Couroux – keyboard, powerbook, tapes, electronics

“WATERGATING” or “Mr. Dean’s Opus” (that’s John, not Howard)

Tickets : $6 / $8