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Yannick Thépault & Denis Cuniot present “Universel Klezmer – Klezmer Aolam”

The duo Yannick Thépault (clarinet) & Denis Cuniot (piano) will release their new album, “Universel Klezmer – Klezmer Aolam”, on Friday, November 6, 2026 (CD and digital) on Buda Musique / Socadisc. The album will be presented live during a series of concerts at the Rendez-vous d’Ailleurs (Paris, 20th arrondissement) on Thursday, November 19, Friday, November 20, Saturday, November 21, and Sunday, November 21. The first single, “Une maman et une tante aux petits soins – Zorgn”, will be available on October 16, 2026 on all platforms. 'This album was born out of a desire—shared with my friend Denis Cuniot—to perform works by great composers, some of whom were not Jewish, who had adapted traditional Hebrew melodies. The clarinet, with its infinite range of nuances, its wide range, and its timbre that sometimes resembles the human voice, gives the melody a distinct character. We sought to convey the meaning of the lyrics through our musical interpretation. A flower takes shape through its fragrance and our imagination. The interpretation of Hasidic music differs between the United States and Europe. In the U.S., performers emphasize the festive, urban aspect, no doubt influenced by jazz. In Europe, shaped by its history, the mood shifts from laughter to tears. Shostakovich said of Jewish music: “It is an ocean of tears with a burst of laughter in the middle.” The pieces we present are arrangements and free adaptations of the original scores. I have preserved their harmonic and rhythmic foundations and reinterpreted the melodies.' Yannick Thépault   Album Presentation Universel Klezmer (Klezmer Aolam) 'Jewish folk music, an expression of a long-standing tradition, transcends all boundaries, starting with those that separate the religious from the festive and classical composition from folk music. The composer and cellist Joachim Stutschewsky (Ukraine 1891–Israel 1982) set out to demonstrate this, through both music and words. In 1935, he published in Vienna a veritable manifesto of contemporary Jewish music, Mein Weg zur jüdischen Musik (My Path to Jewish Music). Born in the Russian Empire, Stutschewsky emigrated to Germany to study at the Leipzig Conservatory; he worked as an itinerant musician before settling in Vienna, where he worked in the tradition of Arnold Schönberg. After the Anschluss, he went to the Jewish community in Palestine, where he devoted himself to collecting the diverse Jewish musical traditions—Ashkenazi, Sephardic, Persian, and Yemeni. Stutschewsky never ceased to repeat that Klezmer is not a form of light music or folklore, even though it is often played by Schnorers—beggars—which he himself was before his time in Vienna. The title of this album, Universel Klezmer—universal Jewish music—can be seen as a double pleonasm, since the universal is the very essence of both Judaism and music. The word 'Klezmer' does not refer to a genre or a particular tradition; in Yiddish, it simply means 'musician.' This universal dimension did not escape Maurice Ravel, who drew inspiration from it in two ways: through the Aramaic sounds of the Kaddish and through those of Yiddish in his arrangements of popular Jewish songs. The most French of composers—whose *Boléro* is to musical heritage what the Eiffel Tower is to Paris—never ceased to draw inspiration from the music of the world. He orchestrated Mussorgsky’s Pictures at an Exhibition and was a champion and friend of Igor Stravinsky. At the height of World War I, he responded sharply to Saint-Saëns, Cortot, and Vincent d’Indy, who were urging the government to ban public performances of contemporary German and Austrian works so as not to have to pay royalties to nationals of enemy countries. 'It matters little to me that Mr. Schönberg is Austrian,' wrote Ravel, who considered him the most important of his contemporaries alongside the Russian Stravinsky, and he came to the defense of two citizens of the Habsburg Empire, Bartók and Kodály, who, though Hungarian, were nonetheless immense musicians. Ravel understood Bartók’s method, which drew on folk music and songs, challenging the principles of classical composition of the Viennese Holy Roman Empire of Harmony. During a tour of the United States in 1928, Ravel spent a few nights in Harlem’s jazz clubs in the company of George Gershwin. Upon his return, he wrote: 'You Americans take jazz too lightly ( …) it is jazz that will give birth to American national music.' As universal bridge-builders, Klezmer musicians encountered, on American soil, the descendants of African slaves. Like the singer Al Jolson, many Jewish musicians painted their faces with black shoe polish to join jazz bands. A classical clarinetist who had learned music in a Chicago synagogue, Benny Goodman became, in 1935, the first white man to form a jazz band, whose mixed membership defied racial segregation—then enshrined in the laws of several states and ingrained in the customs of the entire United States. (...)' Guy Konopnicki
2 October 2026

Fakir presents “Le temps de l’orage”

The Fakir trio will release their second album, ‘Le Temps de l’orage’, on 16 October 2026 (CD, digital and vinyl) via Raffut / Inouïe Distribution. The first single, ‘Orange express’, is already available on all streaming platforms. Fakir brings together Marwan Fakir (violin), Louis Desseigne (guitar and saz), and Pierre-Antoine Despatures (double bass). Defying conventions and habits, they have been forging their artistic path since 2018 Coming from different musical traditions, they tame and challenge each other, invent themselves and write together the story they want to tell — stories of borderlands and frontiers. Rituals, trances, and lace- like melodies paint an imaginary world traversed by flashes, frictions, surges of modernity and millennial traditions. With their second album due in october 2026, the trio weaves a new repertoire under the scorching fire of a merciless amplifier that makes certainties tremble. Hmadcha trances, feverish grooves, and heart-wrenching maqams bring the listener on a dream-like path.   The album ‘Le Temps de l’orage’: With ‘Le Temps de l’orage’, Fakir strikes out in a new direction and gives creativity centre stage. Eleven compositions make up this new repertoire, forged in the blazing heat of a merciless amplifier. Throughout the album, Marwan Fakir transforms his violin into a rabab, a kemence (a classical Ottoman instrument and ancestor of the violin), a gaita (a traditional Maghreb double-reed instrument reminiscent of the oboe), and a voice. In “Istihlal”, an improvised prelude to “Gbahi”, he demonstrates perfect mastery of space and silence in a gripping musical development, before launching into a trance inspired by the music of the Hmadchas, a Sufi brotherhood based in Morocco. After a few minutes of intense rhythmic energy, Louis Desseigne shatters the fabric of this procession with a post-Hendrix-style wall of sound that makes the valves of his Fender Bassman scream. With “Bleu de Nuit”, a heartfelt tribute to Gnawa music, the trio’s sound becomes more subdued, allowing us to hear, in hushed tones, the richness of the polyrhythms of this animist brotherhood. A collective solo emerges, letting us hear the jubilation of the interplay that animates the three musicians. The track “Le Temps de l’orage” makes skilful use of overdubs to create a grand chorus inspired by Amazigh music, uniting guitars, saz and lautar (a kind of skin-covered lute, a cousin of the Gnaoui guembri). “Orange Express” takes us on a breathless journey: an opening theme in the style of Bill Frisell, full of questions, gives way to a bowed double-bass solo that gradually unravels, propelling us towards an Armenian-inspired melody imbued with joyful nostalgia. Fakir charts a map of the intimate here—a sky on the verge of shifting—with free, deeply emotional music that brings ten years of musical exploration to a close and establishes a quiet certainty: music, sharing and bonds are what keep us standing and help us weather the storm. “Le Temps de l’orage” was recorded at Flow Studios (Chailland) in April 2025.
25 September 2026

Gigi de Nissa presents ‘Ric coma la mar’

Gigi de Nissa will release his second album, ‘Ric coma la mar’, on 23 October 2026 (CD, digital and vinyl) via Manivette Records / Baco Distribution. The album will be presented on Friday 11 December 2026 on stage at La Péniche Anako (Paris, 19th arrondissement) during a special launch concert. The first single “Luna fortuna” is already available on all platforms As a singer-songwriter and performer, Louis Pastorelli continues to forge a unique artistic path with Gigi de Nissa, a journey that began in 2010 with a self-titled debut album acclaimed for the way it weaves together tradition and modernity, Occitan and French, folk heritage and a contemporary perspective. A committed figure in the Occitan cultural revival spearheaded in particular by Massilia Sound System and the Fabulous Trobadors, founder of the independent Nice Carnival and leader of the band NUX VOMICA, Louis Pastorelli has never ceased to create a dialogue between the history of Nice and the present. Under the name Gigi de Nissa, he explores a more intimate and narrative vein, in a spirit that is at once carnivalesque, satirical and deeply human. Line-up: Louis Pastorelli: vocals, rajão, guitars; Milena Pastorelli: diatonic harmonica, percussion, vocals, backing vocals; Alexandre Auria: guitars, espina, banjo, bass, backing vocals; Jérémy Couraut: guitars, espina; Félix Liperi: guitar; Leo Corrêa Merand: rabeca; Cédric Le Donne: drums; Frédérick Lacroix: bass; Artistic advisor: Moussu T   Gigi de Nissa returns with this second album, which is more collaborative in nature but still driven by the same desire to make a popular heritage resonate with today’s realities, and to give a voice to everyday life, celebrations, frustrations and joys that still permeate the neighbourhoods of Nice. And for this venture, he has surrounded himself with a loyal and close-knit team. The record label, Manivette Records, invited Moussu T (alias Tatou, François Ridel, leader of the bands Moussu T e lei Jovents and Massilia Sound System) to support the project as artistic consultant. A key figure on the Occitan and Marseille music scenes, his vision and high standards shape a warm, sophisticated sound that is deeply rooted in popular Mediterranean music. This new repertoire further affirms Gigi de Nissa’s uniqueness: music that draws as much from the streets of Nice as from the shores of the Mediterranean, where traditional repertoires interact naturally with contemporary sounds, music that is festive but lucid, intimate yet collective. Blending traditional elements, contemporary rhythms and social poetry, he paints a sensitive portrait of Nice and the world, as seen from home, the street and everyday life. Musically, this second album broadens the horizons. Alongside its Occitan and Mediterranean roots are Brazilian and Portuguese influences: swaying rhythms, rajão guitar, organic percussion by Jam Da Silva, and the rabeca played by the Brazilian Leonardo Côrrea... All these elements infuse the whole with a warm and personal vibe. In these new songs, Louis Pastorelli continues his creative work in the Occitan language, and more specifically in the Nice’s variety of Occitan (niçois), which he places at the heart of his writing. Combining social commentary, the poetry of everyday life and sensitive portraits, Gigi de Nissa sings of Nice in its living language and affirms the niçois as a fully contemporary language of creativity. From autumn 2026 onwards, Gigi de Nissa demonstrates that popular culture is not a relic: it is a living movement, a space for joyful resistance and sharing.
18 September 2026

Stelios Petrakis presents ‘Lyric’ on the New Morning scene

Sorry, this entry is only available in FR.Le compositeur et luthier grec Stelios Petrakis présentera "Lyric"  son 10e album,  le 29/09/2026 sur la scène du mythique New Morning (Paris, 10e) en trio avec Isabel Martín et Efrén López. Ce nouvel opus sorti le 13 février 2026 chez Buda Musique / Socadisc avait rencontré un retour dithyrambique de la presse nationale et internationale.   Figure majeure des musiques de Méditerranée, Stelios Petrakis est l'un des plus grands ambassadeurs contemporains de la lyre crétoise. Originaire de Crète, il développe depuis plus de vingt ans un langage musical singulier, nourri par les traditions de son île mais résolument ouvert aux influences de l'Asie Mineure, du Proche-Orient et de l'Europe. Virtuose de la lyre, compositeur et facteur d'instruments, il fait dialoguer patrimoine et création avec une sensibilité rare. Line-up de la soirée:  Stelios Petrakis : lyre, luth ; Isabel Martin : voix, percussion ; Efrén López : mandoline, cuatro, davul   Biographie Stelios Petrakis : Compositeur et fabricant d'instruments, Stelios Petrakis a été initié à l'art de la lyre dès son plus jeune âge. Il a eu de nombreux professeurs influents lors de séminaires et de cours réguliers, maîtres de la musique orientale, tels que Ross Daly, Talip Ozkan, le Dr L. Subramaniam et bien d'autres. Il a beaucoup collaboré à des concerts et des enregistrements avec des musiciens importants de la scène internationale (Ross Daly, Chemiranis, Efren Lopez, etc.), avec nos musiciens traditionnels de musique crétoise (Giorgis Xylouris, Vassilis Stavrakakis), avec des compositeurs grecs et internationaux (Christos Leontis, Stamatis Spanoudakis, Stephanie Economou, Joseph Shirley) ainsi qu'avec d'autres musiciens dans des enregistrements pour des films, des disques et des concerts. Il est aujourd'hui l'un des principaux représentants et innovateurs de la musique traditionnelle, avec neuf disques personnels et de nombreuses distinctions internationales à son actif. Avec son quatuor, il fait voyager la musique crétoise aux quatre coins du monde, de l'Inde et la Malaisie au Théâtre de La Ville à Paris et au Carnegie Hall à New York, et presque partout ailleurs, l'ouvrant à un public toujours plus large. Les moments forts de sa carrière musicale sont l'ascension au sommet du classement World Music Charts Europe (juillet 2022) pour le CD « Spondi », l'annonce du CD « L'Art de la Lyra » comme le meilleur de l'année 2016 sur Radio France, ainsi que ses concerts à guichets fermés au Théâtre de la Ville (Paris) et au Carnegie Hall (New York). Au cinéma, il a largement participé aux enregistrements du film « My Big Fat Greek Wedding vol. 3 » de Nia Vardalos avec une musique de Stephanie Economou, aux enregistrements du film « Killer Heat » de Philippe Lacôte avec une musique de Joseph Shirley, tandis que le documentaire « Thalatta » de l'université de Thessalonique, qui traite de la surpêche en mer Égée, a été entièrement investi de sa propre musique. En tant que luthier, il possède son propre atelier en Crète, où il fabrique des lyres, des luths, des baglamas et d'autres instruments à cordes. Ses propres créations sont exposées dans des musées d'instruments de musique à travers le monde, tels que la « Cité de la musique » à Paris, au Japon, en France, en Pologne et en Grèce. Des musiciens célèbres du monde entier jouent de ses instruments, tels que Ross Daly, Efren Lopez, Kelly Thoma, Les Claypool, Sean Lennon, Giorgis Xylouris. Il est diplômé de la faculté de droit de l'université d'Athènes et parle anglais, français et turc.
16 September 2026
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