The piano is a polyphonic instrument par excellence; its very conception is a clear statement of intention for the solo player.
Yet in spite of this built-in destiny, how can a musician used to the rhythmic impact of the drums, the expressive quality of the saxophone and the energy of electric instruments do without them and still make high quality music? How can the pianist take the environment, whether urban or rural, and the surrounding sound context into account, plus other acoustic and electric music, and work to integrate them all into his musical language? How can he make the piano sound supple, malleable and versatile when he has no means of blowing into it nor of bowing the strings, as other instrumentalists can do in order to alter the sound itself or its intensity and pitch?
These are some of the questions that have always guided my approach to the piano, from my first trials in solo right up to the conception of this record....
But for me, it was not a question of trying to make “an arrangement, albeit reduced, for piano” of some sort of orchestral music I had imagined, nor was I trying to fill gaps. No, what I wanted was to create an intimate musical universe organised around pieces conceived for the piano on its own and worked on as such. Replies to these questions were mostly discovered by not venturing too deeply into the differing worlds of harmony, melody, rhythm, timbre and style already familiar to me, but by choosing instead to explore the Lisières [Fringes] of those worlds. Each composition was intended to be as clear, simple and special as I could make it, with each piece condensed into a single idea, thus giving me the chance to show what these Lisières might seem like every time I inaugurated any improvisation (rather in the manner of so-called Studies for piano); then I could stage them, as it were, give them form and turn them into some sort of musical fiction, just like short stories.
released June 3, 2014
Recorded May 21, 2013 and mixed February 7, 2014 at Studios La Buissonne.
Recording and mixing by Gérard de Haro.
Mastering by Nicolas Baillard at Studios La Buissonne.
Piano prepared and tuned by the one and only, Alain Massonneau.
Photos by Nicolas Coltice.
Portrait by Amélie Reboul.
Translation Delia Morris.
Graphics by Philippe Ghielmetti.
Produced by Stephane Oskéritzian and Gérard de Haro / RJAL for La Buissonne Label. Bruno and the label thanks Philippe Ghielmetti, Stephane Oskéritzian, l'équipe du Crescent Jazz Club, Nicolas Coltice, Amélie Reboul, Vincent Lê Quang, Laurence Ilous, Marc Thouvenot, Alain Massonneau, Roman Gigou, Sylvie de Haro, Nicolas Baillard and Romain Castéra.
P C 2014 STUDIOS LA BUISSONNE firstname.lastname@example.org
Le label La buissonne crée en 2003 défend des valeurs essentielles : conserver l'indépendance artistique du label et des
artistes, garder la passion intacte comme au premier jour, diffuser une musique, véhicule d'émotion pure et d'humanité loin de tout concept commercial. Tous ces albums ont reçu des récompenses par la presse spécialisée et ont tous reçu des distinctions internationales....more