Virtually all of the improvising musicians active in the last forty years whom I admire have dedicated themselves, to varying degrees and in different ways, to solo playing. By early 2014, I had played a few solo concerts but none had been particularly successful; it seemed like an area due some attention. In May 2014, I had time to commit to a new project and unique access to La Poêle, a Mile End (Montreal) dance studio with which I have a family connection. I started a series, Trombone Solos at Odd Hours (Solos de trombone à heures indues), in which I’d play a thirty-minute improvised solo six days a week for as long as my schedule and interest could afford it. Having access to the studio calendar, I’d cherry-pick hours not likely to be rented at different hours during the day, and announce the concerts on this site and in local listings. The start-times, as you can see below, are ridiculously specific, and I endeavoured to start each solo exactly on time. The choice of start-times is  in a way practical, since the concerts can’t start on the hour when studio bookings typically begin due to the need to set up, etc. It is also my sly commentary on the absurd practice – particularly prevalent in Montreal – of listing concerts for one time and then having them start as much as 90 minutes later.

This intensely underground project even received a milligram of international media attention.

I have now done three such series, a total of eighty concerts. Some of the recorded proceeds from the second series were released in Spring 2016 as Heures indues (bim-73) on Chris Dadge’s Bug Incision label in Calgary.


  • 1 May, 12:12pm
  • 2 May, 9:21am
  • 3 May, 5:26pm
  • 5 May, 9:01am
  • 6 May, 9:17am
  • 7 May, 5:37pm
  • 8 May, 5:06pm
  • 9 May, 3:23pm
  • 10 May, 5:26pm
  • 12 May, 4:07pm
  • 13 May, 9:02am
  • 14 May, 9:20am
  • 16 May, 12:31pm
  • 17 May, 5:22pm
  • 19 May, 11:11am
  • 20 May, 9:28am
  • 21 May, 1:03pm
  • 22 May, 5:17pm
  • 23 May, 1:26pm
  • 24 May, 9:05am
  • 26 May, 5:09pm
  • 27 May, 10:10am
  • 28 May, 1:13pm
  • 29 May, 10:14am
  • 31 May, 4:28pm
  • 2 June, 11:24am
  • 3 June, 1:05pm
  • 4 June, 9:11am
  • 5 June, 5:12pm
  • 6 June, 9:52am
  • 7 June, 12:12pm
  • 9 June, 9:56am
  • 10 June, 9:02am
  • 11 June, 9:44am
  • 12 June, 4:43pm
  • 13 June, 9:51am
  • 16 June, 9:09am
  • 17 June, 1:21pm
  • 18 June, 1:18pm


  • 12 January, 11:23am
  • 13 January, 11:11am
  • 14 January, 3:21pm
  • 15 January, 12:19pm
  • 16 January, 12:07pm
  • 17 January, 9:10am
  • 19 January, 5:12pm
  • 20 January, 3:02pm
  • 21 January, 5:09pm
  • 22 January, 4:17pm
  • 24 January, 5:13pm
  • 26 January, 9:11am
  • 29 January, 4:20pm
  • 30 January, 1:06pm
  • 31 January, 4:14pm
  • 2 February, 9:15am
  • 4 February, 5:16pm
  • 5 February, 1:22pm
  • 6 February, 5:18pm
  • 7 February, 2:19pm
  • 10 February, 9:04am
  • 12 February, 1:16pm
  • 14 February, 12:12pm
  • 9 November, 3:17pm
  • 10 November, 4:21pm
  • 11 November, 12:16pm
  • 12 November, 4:19pm
  • 13 November, 12:14pm
  • 14 November, 9:02am
  • 16 November, 12:11pm
  • 17 November, 1:33pm
  • 18 November, 9:46am
  • 19 November, 5:27pm
  • 20 November, 9:48am
  • 21 November, 9:04am
  • 23 November, 3:20pm
  • 24 November, 4:12pm
  • 25 November, 9:10am
  • 26 November, 10:07am
  • 27 November, 9:52am
  • 28 November, 9:01am


Great review by Stuart Broomer of Heures indues: Trombone Solos (Bug Incision) alongside those of other superb releases by my friends Yves Charuest, Nicolas Caloia, Nick Fraser, and Rob Clutton.

‘Scott Thomson has ranged from The Rent, a group devoted to Steve Lacy repertoire, to site-specific compositions for a brass ensemble. In 2014-15 he had regular access to La Poêle, a Montreal dance studio, and launched a series of 30-minute concerts, Trombone Solos at Odd Hours (Solos de trombone à heures indues), six days a week – e.g., “19 May, 11:11am.” The resultant CD, Heures Indues (bug incision), has three pieces, each dedicated to an individual, each the sole listener for the performance. Thomson is an exceptional soloist, the beneficiary of close study of Paul Rutherford and studies with Roswell Rudd who has developed his own voice. He uses the whole instrument and has a keen sense of focus and development. “For Elizabeth Millar” begins in an extreme upper register, with little wisps of sound, from micro-glissandi that suggest animal voices to fragmented bugle calls. “For Jacques Gravel” explores multiphonics and muting, developing at one point a swing both vigorous and light. “For Lin Snelling,” the longest of the three pieces, adds the rattle of the metal mute against the bell and rapid runs, but Thomson also has something of the lyric upper register of Tommy Dorsey in his collection of sounds. What stands out most in these performances by appointment is Thomson’s sense of calm construction, every shift an organic evolution, akin to the solo work of Conrad Bauer.’