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Guitarist-singer, Amando Risueño performs the music of Argentina with poetry and depth. He echoes stories from his country, universal stories, while holding at heart the mystery and emotion of music to come and touch every fiber of the listener's body. Born in 1969 in Buenos Aires, Amando started playing guitar around the age of ten. He got swept away by this budding passion and studied classical guitar at his local Carlos Buchardo National Conservatory of Music. In this world of globalized culture, his curiosity brought him to the electric guitar and other genres such as jazz, blues, rock and pop. At around age thirty, he started questioning his cultural identity and relationship with the music of his country. He then ventured out into the musical repertoire of his hometown, the tango, working on well-known pieces while also uncovering some rare gems. In 2011, he settled in France, a new territory that led him to form a strong bond between music and landscape. Since then, he has gone on to explore more traditional repertoires from various regions of Argentina, such as zambas, vidala, chacarera, stilo, and others. His first solo album, "Tangos de mi Flor" (2013) is devoted entirely to tango. He then recorded "Campo abierto" (2018) where the repertoires of Buenos Aires (tango, waltz) gets crossed with those of inland regions (milonga, zamba, vidala). Amando plays concerts in France and abroad. His recordings and live work enjoy regular support from Spedidam, FCM, Adami, Fonpeps and the Drôme Departmental Council. With "El canto del viento", Amando Risueño takes us into the world of Atahualpa Yupanqui, in homage to both the composer and poet as well as the performer. Atahualpa Yupanqui transcended traditional Argentine music to bequeath onto us his timeless work in music and philosophy. Amando approaches it as a delicate game through a succession of melodies that give full measure to these stories about the women and men of the earth. The wind, moon, sun, mountains, valleys, plains, and animals recur throughout. Between two pieces, Amando speaks about evoking the life of the artist and quotes magnificent texts from the book written by Atahualpa in 1965: « El canto del viento ».  

Always eager for contrasts, the French violinist/violist Gabriel Bismut and the Italian accordionist/pianist Maurizio Minardi will delve into popular music from France, Italy, Argentinian tango, Latin waltzes and Baroque rhapsodies, and make them a very personal blend. They will present at Studio de l'Ermitage their first joint album, "Le Chat Brel", within their acoustic jazz quartet. "Le Chat Brel" is a reference to Chabrol and to the cinema of the 'Nouvelle Vague', coupled with the expressiveness of Jacques Brel and the elegance and carefree nature of a feline. The passion for the cinema is indeed omnipresent in their original compositions, which oscillate between a light humor and a strong intensity, while remaining, like a film of the Nouvelle Vague', sincere and without artifices. Gabriel Bismut and Maurizio Minardi met on the Parisian jazz scene at the end of 2016. Their Italian origins and their taste for the beautiful melodies of film music made them want to put together a project around their compositions. Their original arrangements paying homage to Nino Rota, Ennio Morricone and Jacques Brel. They performed more than 60 concerts in France, in Italy and Belgium and England.

Sambuca is Roberto Stimoli (7-string guitar) and Irene Amata (vocals). The duet plays Brazilian music, and is very active on the Parisian jazz/world music scene.One voice and one seven-string guitar to reinvent the rhythms of the samba: it is the ambitious goal that Roberto and Irene share, united in their passion for this music from a faraway land, that is nonetheless a part of them. In their repertoire, you will find several bossa novas that have been performed by the greatest artists: thus Sambuca chooses to reinterpret them with a fresh, yet authentic sound. The Portuguese language is truly a part of these melodies, and it is Sambuca’s deliberate choice to use the original lyrics, so as to highlight their importance in the rhythm and feel of the music. It isn’t necessary to understand the meaning of the words: it is the sweet yet powerful sound that catches the ear, captures the attention and opens the senses. One voice and one guitar: yet there is nothing missing. The seven-string guitar carries the bass-line, and the voice is full of rhythm. Both musicians improvise in a playful mood of mutual appreciation. One voice and one guitar fill the space, capturing the audience’s attention. Creating a new way of listening to Brazilian music is Sambuca’s challenge and passion. Sambuca’s first album was recorded in Italy in 2019, its title is « Luz » (Portuguese for ‘light’); it will be released in mai 2020 (with a launching concert on May 13th. in Paris). With Luz, Sambuca offers a reinterpretation of 10 songs (8 Brazilian pieces, 1 Italian song and 1 French song). The arrangements are very personal, new and intriguing. Roberto and Irene utterly transform bossa nova classics with their unique vision and interpretation, yet never betray the original harmonies. And when the duet revisits sambas, the dialogue between voice and guitar enhances their beauty —the voice’s timbre and the audacity of the guitar creating an ideal combination. The material in Luz is a mix of world-famous songs (e.g. Garota de Ipanema, Chega de Saudade de A.C.Jobim/V.Moraes) and tunes by others Brazilian composers that audiences are less familiar with (e.g. Luz negra by N. Cavaquinho, Vera Cruz by M. Nascimento). A wide-ranging repertoire, that shows Roberto and Irene’s passion for the rich and vast Brazilian musical heritage. A repertoire the duet usually performs on stage and have now chosen to record. Improvisation is an essential part of this dialogue between voice and guitar, and reflects Sambuca’s distinctive blend of jazz and Brazilian Popular Music (MPB). Two songs on Luz are little tributes. La Javanaise is a tribute to France—Roberto and Irene’s adopted country, where they are building their musical career— and Estate pays hommage to Italy, their homeland.  

Anahita is the musical opus born of the friendship and artistic collusion and intellectuel of two Franco-Iranian women Ariana Vafadari that composed the music and Leili Anvar that imagined the story and wrote the texts. THE STORY A young women dreams of the time her village was still green, she wakes to see the dying trees and senses her empty belly. She has traversed deserts and lands on fire, in despair, she prays to the goddess with whom she shares the name : Anahita. This divinity of the waters, fertility and wisdom, is the one that dispenses water for all rivers and streams and thus to all peoples. She is the healer and the source of wisdom. It came to pass that the cult of the feminine fell into disuse and her countenance was effaced from human memory, causing the gradual retreat of the waters from the rivers and aquifers. After a mystical exchange with the goddess, the young Anahita departs on a quest for the water of immortality and finds Love. Ariana Vafadari was exposed from an early age to the poetry and philosophy of Zoroastrianism thanks to her father, she has undergone a growing longing to bring back to life the ancient scripts of Zarathustra, as collated in the Avesta, the writings founded on the tenets of wisdom, spirituality and a profound faith in the natural goodness of mankind. Thought these prayers to Anahita, the will of Ariana et Leili is to bring back the place of felinity in the world. Ariana works in the company of a throng of fine musicians from many cultural origins or inclinations — some are masters of traditional Iranian music but others come from backgrounds in jazz, Moroccan music and, indeed western classical music. They journey between spheres with ease. The textes are in persan, french, in avestic language, the ancien language of zoroastriens and in italien.

Vangasay, singer Gwendoline Absalon’s second album is above all an initiatory and vitalizing immersion into the island of La Réunion. Come closer: the warm and clear voice of this young pathfinder invites everybody to assert their identity, in an astonishing Creole poetry. Between pop and world-music, the musical arrangements by the pianist Hervé Celcal, are not only a tribute to tradition but also a fountain of youth that perfectly serve this upcoming artist’s philosophy. With this second album embedded in La Réunion, Gwendoline delivers the fruit of her own introspection: a world made of sounds, scents, wishes, consciousness and Creole. She will chant to our ear the desire to create a link, in a masterful introduction-immersion (Binda). We will encounter a paradox, an awareness of the island’s great vitality of traditions (Modernité). A citrus-fruit with medical virtues will spread its virtuous sourness throughout the world reminding us that one should maintain a bond between generations (Vangasay). We will furrow towards Cape Verde with a reverence to the profound Cesaria Evora (La Diva de la morna). On our way, a soul-groove from La Réunion will tell us about healthy love (Fo pa kwrar). And finally, like two waves that meet, Maloya will embrace Martinique’s Bèlè as a tribute to the “masters” (Béliya)... Vangasay: a cure to enlarge our imagination About a year ago, Gwendoline opens a French- Creole dictionary and comes across “vangassaye” (vangasay in Creole) which designates some kind of citrus fruit, originally from Vietnam and Madagascar. It is known to cure influenza, a sickness that com- pels our body to take a rest. Gwendoline sees it as a strong signal. It will become the title of her second album. Gwendoline composed eight titles on the album and signed all the lyrics. Only “Modernité” is from the guitarist Fabrice Legros. Hervé Celcal [see boxed text] composed three titles (Filao, Béliya and La Diva de la morna). Gwendoline chose him to do the musi- cal direction on Vangasay, after their meeting in June 2019, at La Réunion. Hervé listened to a lot of her musical universe (sometimes simple vocal memos), in order to fully integrate her personality. Five months later, he offered made-to-measure propositions. They all scored! Gwendoline says: “I’m a rooted singer that is un- rooted”! Cape Verde calls, she goes for it (La Diva de la morna, AKA). India inspires her quite instinctively (Vangasay, Paliaka). Her voice is undeniably soul and her groove refreshes the genre (Fo pa krwar). Jazz is heard in the placements, in the intonations. And yet she embodies perfectly the Maloya like the great masters of her island would do (Binda, Filao, Moder- nité, La Diva de la morna). The young singer takes it all and invites us to extend our imagination. This leads to twelve titles that float between acoustic arrangements, tributes to tradition (Binda, La Diva de la morna, Filao, Béliya, Moderni- té...) and something that sounds more like pop-mu- sic (Vangasay, Paliaka, Inveja, Fo pa kwrar, Ti fi la).

Sorry, this entry is only available in French. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.Les Fils Canouche seront de retour le vendredi 14 février 2020 avec leur nouvel EP "Transhumance", qui sortira chez Vlad Productions / Believe Digital (L’Autre Distribution). En invités, le grand Minino Garay aux percussions et le troublant oudiste Hussam Aliwat viennent ornementer avec magnificence ces nouvelles compositions hybrides entre jazz et musiques du monde. Quatorze années d’étincelles scéniques pour quelques 700 concerts à travers l’Europe ont forgé chez ce quartet une âme d’explorateur du jazz ! La rencontre d’une rythmique sauvage aux envolées virtuoses d’une clarinette basse et d’un accordéon empli d’émotion nous invite au voyage entre orient et occident. Migrant sans relâche aux quatre points cardinaux, Les Fils Canouche s’entourent désormais de prodiges internationaux dans leur nouvel et 5e opus « Transhumance ». En invités, Le grand Minino Garay aux percussions et le troublant oudiste Hussam Aliwat viennent ornementer avec magnificence ces nouvelles compositions hybrides entre jazz et musiques du monde. Le Quatuor s’ouvre désormais à l’élégance des musiques orientales et aux timbres des percussions d’Amérique latine. En disciples fougueux d’un Django moderne ou d’un Piazzolla ressuscité, ils brouillent les frontières musicales et temporelles pour le pur plaisir d’un jazz hétéroclite. Un nouveau métissage sonore étourdissant qui signera un spectacle interculturel pour 2020.

Born as a saxophone / drums duo in Berlin in 2009, Electric Vocuhila has become an electric quartet in 2011. The band mixes rhythms inspired by several urban African musics like sébène from Congo, ethio-jazz or tsapiky from Madagascar, to an orchestral conception from jazz and more precisely from Ornette Coleman’s harmolodic music. On an obstinate rhythmic base always moving, alternately hypnotic and frantic, their music is freely built around repeating units. Seeking both melodic succinctness and a kind of overflow and trance, the quartet is developing long sequences made of dazzling themes, sinuous phrasing and sharped & explosives riffs. A cheerful and urgent call to dance! Electric Vocuhila is part of the Capsul Collectif, located in Tours (FR). PRESS: « The audience wouldn’t let Electric Vocuhila go until they’d played four encores of their spirit-raising African beats. Sometimes the groove shifted imperceptibly, always keeping the African feel. The band had a seemingly inexhaustible supply of music that left the audience wanting more and more. » - London Jazz News – Jazzdor Berlin Festival 2016 « [...] the strange and cheerful band Electric Vocuhila. Those musicians come from free jazz and play African music as if it were rock. African music from today, with a preference for Malagasy tsapiky : electric guitar melodies and mad rhythms, for a kind of trance music close to the greatest rock.. »                - Les Inrocks – oct. 2017 « Electric Vocuhila starts with a cheerful calypso (when was the last time we heard this kind of music on a contemporary jazz stage ?). A guitar, an electric bass, an alto sax and drums are enough to make everyone dance and forget the late night tiredness [...] Through a celebration of hypnotic black musics from Africa and America [...] Electric Vocuhila will lead an ecstatic audience almost until the end of the night. » - JazzMagazine – Jazzdor Berlin Festival 2016  

« Here are nine of my favorite rhythms, which I cherish as much as the songs I enjoy performing on my piano or in my head. Because they hold within them the identity of a region, a country, a people or a music. I first discovered them through the “Tambor y Canto Encounters” at the Cité de la Musique in Marseille. I then started to master them, slipping them in on my keyboard between percussionists and singers. Then I brought them home with me and showed them to my jazz collaborators... My most cherished rhythms " will have surely changed since the beginning of the voyage, but no matter, just as long as we make it there, to listen to the album and undertake the musical journey through America, the one in the South, the one that speaks Spanish and Portuguese, the one with llaneros, boleristas and candomberos, where music is dance, danzón, côco and huayno. » Simon Bolzinger As a pianist, composer, arranger with training in classical and jazz music, Simon Bolzinger is passionate about traditional music from South America and the Caribbean, which he transcribes to the piano, or re-writes for orchestras, always respectful of traditions and striving for authenticity. Artistic Director of the PICANTE Association in Marseille, he organizes the "Rencontres Tambor y Canto" ("Tambor y Canto Encounters"), which revolve around traditional music and hold international exchanges that might lead to the production of shows and records. A classically-trained musician, he discovered South American music singing in choirs after joining the university choirs of Caracas under the direction of Alberto Grau and Maria Guinand. His two years in Venezuela (1989-90) provided him the opportunity to learn about Afro-Venezuelan salsa and polyrhythms. He earned the Gold Medal in the jazz class at the Conservatoire de Marseille, under the direction of Guy Longnon (1992). Following his studies in Physics Engineering and his PhD in Acoustics (1995) under the direction of composer Jean-Claude Risset, he decided on becoming a professional musician and trained the salsa group ZUMBAO through fifteen years of tours to international recognition, confirmed by the opening of the Feria de Cali (2006). A connoisseur of traditional Venezuelan music, he also studied in the Cuban tradition, in which he founded the ensemble "Galarumba" with the singer Martha Galarraga and percussionist Gustavo Ovalles (2003). He started the annual "Tambor y Canto" encounters on traditional music at the Cité de la Musique in Marseille (2005), where traditional music from the South American countries of Cuba, Venezuela, Colombia, Brazil, Peru, Argentina, Uruguay get presented and revisited. Many creations and collaborations with the tradition's artistic heirs were to follow. The most accomplished is unquestionably the Tambor y Canto Company, which mixes traditions from four countries, Cuba, Brazil, Argentina and Peru, with jazz (CD "Tambor y Canto", 2017 / Quart de Lune - Rue Stendhal). In 2010 he turned back to instrumental jazz, first in a quartet with saxophonist Olivier Temime on the album "Cantos Queridos", then as part of a trio on a new work "Ritmos Queridos" (2020). He could also be found composing for the vocal ensemble "Voix de Strass" in Strasbourg, and doing arrangements and accompaniment for mixed-tradition songs: "Nougarôtrement" performances with Jean-Philippe Trotobas, "Wayaj" with Elsy Fleriag, "Barbara Jazz" with Katy Bolide, "Hispano América" with Choune and Sylvie Paz, "Cabaret Eldorado" with Gil Aniorte, "Agua" with Regina Celia, "Nina, une évocation" with Corinne Vangysel.

The passing on of music from one musician to another and from one soul to another continues, echoing ancient melodies that used to be heard throughout the city, in churches and cafes; in the mosques and courtyards of stone-carved buildings. These tunes, in Arabic, Syriac, Armenian, Turkish and Kurdish, have been passed down from one generation to the next, their beauty serving as the sole weapon against falling into oblivion. Their one common denominator is, for Fawaz Baker, their constant innovation within the constraints of traditional structure. Eastern music offers myriad possibilities in terms of rhythm, melody and improvisation. It is what is referred to as modal music: composed of musical phrases, not tones or notes like most compositions in the West since the eighteenth century. Eastern sound is based on improvisation and polyphony; a freedom that allows two melodies to evolve simultaneously within a complex architecture, letting each musician interpret and improvise. How, then, might a balance be struck between written and improvised music, between modal and tonal? The challenge is no small feat, but it does illustrate how music - and art in general - is capable of creating a dialogue between contradictory forces, one where ideology falls short.   At first there were the encounters the virtuoso of choro Paulista, multiple meetings have marked the artistic experiments conducted in São Paulo by Jean-Luc Thomas. Between jazz, choro, contemporary music, popular mu- sic and learned music, Jean-Luc has built a network of valuable collaborators, each recognized locally and internationally around real knowledge and artistic achievements. Following the meeting in 2009 with Carlos Malta, the «wind sculptor» (Hermeto Pascoal, Pife Muderno, Gil Gilberto, Gaetano Veloso, Lenine, Dave Mathews, ...), in 2013, they created the trio «Sopro da Terra» with the talented percussionist Bernardo Aguiar (Pandeiro Re- pique Duo, ..) who has performed on both sides of the Atlantic Ocean. Jean-Luc Thomas composed these pieces dedicated to places, people, situations. Following a stay in Brazil in 2018, then a two-part residency for recording in the spring of 2019, the album is mixed in Brittany in the fall, for an exit in the bins the following winter.

The album   “Musique Noire” is an eight-track album that draws a parallel between slavery and modern alienation in our professions, hobbies, customs, pleasures, daily life. That is what Edgar calls “Purple Identities” in reference to Alice Walker’s novel. Music tracks’ intents is not to point at the subjection to labour, a hierarchy, a system, but, on the contrary, to make the listener reflecting on broken freedom, artistic testimonies they instill (parallel drawing with The Blues’ people by Amiri Baraka). Taking back the influences that fed Edgar’s childhood, from “sébéné” to blues, including “zouk”” and “folk”, the plural orchestrations also and above all tell rap diversity as inclusive music, as world music.   Edgar Sekloka Former sidekick of Gaël Faye within the Milk Coffee and Sugar group, and winner of the Prix des Musiques d'Ici 2018, Edgar Sekloka offers in his new project, “Musique Noire”, a successful synthesis of rap and singing song, that he colours with different influences drew on world music and blues. Accompanied by singer and percussionist Koto Brawa and by guitarist Jean-Baptiste Meyer-Bisch, he distills his words without concession, denouncing the alienation of modern times, through the social chronicles of everyday life, while spreading his highly contagious benevolence. Multifaceted artist who manages to touch everyone, from the youngest to the oldest.  Edgar Sekloka is a special case in the French-speaking rap landscape. From his different cultural heritages between Puteaux, Cameroon and Benin, he has built a wealth from which he draws his inspirations, which he nourishes over time, through his encounters. Novelist and poet, he makes reference to Chaplin in his videos, he steps onto the stage, collaborates with Mélissa Laveaux or Blick Bassy, freestyles with JP Manova, flies to New York slame with Thief (Franco-American jazz trio), when it does not turn into Mc to orchestrate with its live band Open Mics and Jam Sessions, or as teacher Sekloka, off-road speaker, from schools to jails, from retirement homes to conservatories, for writing workshops or other artistic adventures. Leading several projects at a time, he is already there, while at the moment he was still here, but don’t get you wrong, Edgar knows very well where he’s going, and especially where he wants to take you with him !  

Temming from the meeting of the pianist Mathieu Belis, the cellist Nicolas Carpentier and the percussionist Thomas Ostrowiecki, Yeliz Trio takes us to the crossroads of urban, classical and oriental music, influenced by artist such as Trio E.S.T, Chick Coréa, Anouar Brahem, and composers like Ravel, Bartok and Shostakovic. From this heritage has grown a peculiar sound: impressionist harmonies and melismatic language of the piano , lyric or rough tones of the cello, trance and asymmetric rhythm and collective energy, the music of the Trio leads the listener into a powerful and poetic sound universe. MATHIEU BELIS  After listening to a solo album by Chick Coréa, pianist Mathieu Bélis, coming from a classical training, gets passionate about improvisation. He comes to develop his own musical language as an autodidact, inspired by musicians like Egberto Gismonti, Keith Jarrett or Anouar Brahem. Composer as much as pianist, the important thing for him is not really the instrument, but rather the harmonies, the colors and the feelings that he wishes to express. NICOLAS CHARPENTIER  Coming from a classical training at the Paris Conservatoire, Nicolas Carpentier has always been interested in blending different artistic expressions. He explores with different musical ensembles the links between music and cinema, tale, mime, dance, traditional contemporary music. He joined the Yeliz Trio in 2016, giving him the opportunity to reconcile his interest in contemporary creation with his love for modal improvisation as a new opportunity to search and express his own voice. THOMAS OSTROWIECKI Thomas Ostrowiecki studied jazz drums with Georges Pacynski then the world (West Africa, Bazil, Turkey, Egypt...)to study traditional percussion. His versatility and artistic curiosity lead him to work in contexts as varied as world music (Safy boutera, Souad Massy, Titi Robin, Angelique Lonatos, Monica Passos...), rock and the alternative scene (Sergent Garcia, New Wave),the song (Bernard Lavillier, Ute Lemper, Mano Solo, Vanessa Paradis...) He also collaborates with the Paris Opera and the Symphonic Orchestra of Brittany.  

A violin, an accordion, a guitar, a double bass, percussion. The Guappecarto play as they live, with this spontaneity, this generosity, this Italian class, a cabaret-punk side of another time that Fellini could have filmed. From Italy, they preserve the roots, a presence, a certain cachet. Gypsy culture, they take the fire, a form of confrontation with life, a movement without borders. In this way, the music of Guappecarto undeniably opens the imaginary and story boxes ... Guappecarto's 4th disc is composed of nine reinterpretations of the works of Vladimir Sambol, composer Fiuman of the 1930s, who emigrated to Sweden after the Second World War. Sambol's writing has been faithfully respected in some cases; in others, it has been used to develop and obtain pieces that are profoundly different from the original in favor of a new atypical sound research for the quintet, expanded by surprising collaborations. Electric guitar and bass, violin with effects, drums, are just some of the novelties of the disc; the original pieces are unstructured, rearranged, transfigured and sometimes added to ad-hoc pieces. The record was recorded at Mauro Pagani's "Officine Meccaniche" studios in Milan in November 2018. The shots were made by Guido Andreani and the mix by Laurent Dupuy (double grammy "best world music album" 2014, 2015), and artistic direction by Stefano Piro.   Featuring: Vincent Segal – cello Daniele Sepe – saxophone Adèle Blanchin – didgeridoo, jaw harp Jeremy Nattagh – handpan, sanza, drums Hamid Moumen – derbouka, tar, karkabou Marzouk Mejri – daff, tar Francesco Arcuri – sound design