Four Aces and a Queen, of course, and all the combinations of the unimaginable, all the balances, all the imbalances. First between a poet with a wide-open conscience, a hallucinating bagpiper, a devilish saxophonist, and two cellists in ambush, in chiffonnade. But it doesn’t stop there, it’s not just a matter of instrumentation, fantastical as it may be, and this one certainly is: it’s a matter of personalities, sensibilities and strategies. Negotiating the bends, the proximity and the distance, negotiating the crossroads and intersections that The Bridge continues to foster with this third set of a second cycle.
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Le free jazz de Chicago entre au collège Vallaux
Article paru dans Ouest France en février 2020