Canadian Masters and their Works
Jean-Pierre Ferland – Jaune – 1970 
Biography by Robert Thérien
In 1968, Jean-Pierre Ferland was in his mid-thirties. Ten years of hard work lay behind him and he was now an established star in Québec and in France. He had survived the Beatles' revolution while most young “chansonniers” had turned to electric guitars. One of them, Robert Charlebois, was enjoying a growing popularity with an unruly, provocative show called L' Osstidcho and songs, like “Lindberg” were at the top of the charts. Ferland was stunned: if this new music, the complete opposite of what he was doing, was in, then he would soon be out.
But the man was a survivor. He gathered around him a team of top-notch
collaborators: Michel Robidoux, who had just worked with Charlebois, was now important in the creative process and co-authored most of the new songs. Studio wizard André Perry produced the album and world-class musicians like David Spinozza (who also worked with Paul McCartney) and Tony Levin (who worked with King Crimson and Peter Gabriel) were called in. Perry found a Moog Synthesizer (a then high-tech innovation), hired some of the best arrangers and even brought in a choir of 60 children to sing on “Le chat du Café des Artistes.” The result was unheard of for a local album at the time. It was called Jaune (Yellow) and presented a great variety of styles but with Ferland’s distinct vocal and lyrical style. To top Charlebois, Ferland presented his new songs in Place des Arts in late November 1970, in the midst of the October Crisis. L'Infonie, an avant-garde brass-oriented group, opened the show. Then Ferland was transported on stage by a full-size bright yellow “payloader.” The singer's 12-piece band, l'Infonie, and a choir of 60 voices joined in for the grand finale.
Ferland explored many more musical styles in the following years, and
managed to always come back stronger when his career seemed on a down
slope. When he decided to retire in the fall of 2006, he was at the
peak of his popularity. In later years, the album Jaune was equalled and even surpassed by new enterprising artists, but Ferland had made his point. With talent and imagination, local artists can meet international standards. Quebec’s recording industry had come of age in the global pop market.
Links
http://www.jeanpierreferland.com/intro.html
http://www.gsimusique.com/main.php#