Christian Escoudé

© Jean-Baptiste Millot © Jean-Baptiste Millot © F.Vernhet © F.Vernhet
19/01/2013 - Namur - M.C. Province de Namur
23/01/2013 - Brussels - Théâtre Marni
24/01/2013 - Humbeek - C.C.Strombeek @ Eldorado

Christian Escoudé
Christian Escoudé (guitar), Fiona Mombet (violin), Jean-Baptiste Laya (electric guitar), Pierre Boussaguet (double bass).
Christian Escoudé is a French jazz guitar-player with gypsy origins. His father was also a guitarist and a great admirer of Django Reinhardt, an affection he passed on to his son. Christian started to study the guitar at the age of ten, but developed his own style. He shared the stage with many well-known artists such as Stan Getz, Bill Evans, Richard Galliano, Michel Portal, Didier Lockwood, Richard Galliano, Eddy Louiss, to name a few.

One could consider “Au bois de mon cœur” a very unexpected project, being created by an artist with a catalogue of almost fifty albums and partnerships with international stars like Stan Getz, Bill Evans or Richard Galliano for example. But on the other hand, George Brassens was a big jazz lover and a great fan of Django Reinhardt (he owned copies of all Django’s recording sessions) and didn’t he buy his guitars at the same instrument maker as many gypsies and manouches?

Brassens is not only a poet, but also an inventive and unique melody composer. One can easily be charmed by the precision and the purity of his compositions.

Brassens’ music sounds bright and clear, in the same way as his lyrics. But that doesn’t mean simplistic. It takes all the talent and the musical skills of Christian Escoudé to sublimate the beauty and the subtlety of Georges Brassens’ compositions and to transform his songs into inspired improvisations, and not into chiseled lyrics.

Escoudé invited the young Fiona Monbet and Swan Berger and the legend of gypsy jazz, Biréli Lagrène, to be part of this tribute to the melodies of Georges Brassens. The result is more than a tribute. It is a true jazz album, that pays respect to a recognized composer in the same way Ellington, Porter or Jobim would be honoured.

It is an inspired album that reaches for the taste of liberty and male sensibility, a need that probably most closely links Brassens from Sète with Escoudé, the gypsy.

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