tocanne - delaunay press kit
A triumph of the taste...
"A music which, end of the lips, to flower of skin, arrives
at the close friend without drama nor apparent sophistication.
Catherine Delaunay plays the chart of the song by not being
unaware of anything of what exceeds it... She is the voice of
Orphée. Her charm is worth power, the world is acquired to her.
Without combat nor conquest... the clarinet is drawing
contours of a acceuillant world: sensual but not narcissistic...
The percussions, released of their martial function, populate
light swarms, volatile gases, remote horizons. Break points
rather than tallies fixes, they drape like limb the light curves
of the clarinet. Also it is necessary to greet as a true triumph
of the taste which no manierism comes empeser its graces melody,
to disturb what could be lived like found innocence. " Jazz Magazine, November 2000 (CD of the Month)
A
very sensual pleasure...
"... In their musical reunions they invited a whole series
of improvisers... until testing the need for centring itself on a
private conversation. It is airspeed indicator, musardier, it
flutters of melody bits in drafts of pulsations, always in a
lightness of tone which keeps in line of sight a very sensual
pleasure of wooded sonorities. The horizon, with the drums as on
the sheers, is that of the permanence of the song. Maybe, in nine
" movements ", one strolls with the unconcern of the
dew of mid-season: fresh and intrigantes... And history to recall
us that it is member of the band Tous Dehors,
Catherine Delaunay also resorts to the bagpipe for an estival and
shifted Temps des cerises" Alex Duthil, Jazzman,
July-August 2000
A
real place for silence : it is rare and alleviating...
"... Improvisations in duet . Here, that should be enough,
the chronicler becomes exhausted to try to describe the magic of
two sounds which meet, of a rythm which goes up, of a melody
which escapes... Attractive experiment, enthralling always, which
succeeds here, if that has a direction, a calm and serene music,
which leaves a place of choice to silence, which is rare and
alleviating. " ... 491 , June-July 2000
A
beautiful experiment in a difficult art...
" Improjazz had also taken you along to visit the percussif
world of the drummer Bruno Tocanne, which is here in duet with
Catherine Delaunay. Little improte so muchher set of clarinet
limpid, is tortured, clearly, sound, free. The drummerr makes
sing his drums for meeting harmonic but such an intimate, never
conflict... A very personal version of " Le temps des
cerises", the major research of an unslung sonority...
A beautiful experiment in a difficult art. " Philippe Renaud
- Impro jazz , October 2000
Between
sky and ground...
"... A very youthful promptness, crossing the borders
stylistics briskly, scrambling the tracks that the "customs
officers" of jazz definitively seemed to have incidentally
decided .They operated outward journeys and returns, creating an
original music... In a balance unstable and sure, between acute
and serious like between sky and ground, the duet shows all the
facets of a "revolutionary' spirit as in this reading of
" Le temps des cerises".
F. Bruckert in Le
Progrès de Lyon , May 2000
A
beautiful complicity, a serene performance...
" The following day evening (...) in Off Jazz Festival, the
climate is "méditatif" at the time during the set of
the French Catherine Delaunay and Bruno Tocanne duet. With a
beautiful complicity, (they) deliver a serene performance : An
invitation to the travels ... This music is haunted by the echoes
of savanna and African jungle , which answer the accents from
Europe or from Asia. " Stanley Péan Citizen Jazz /concert Montreal July 2001
A
generous and creative expression...
"... Bruno Tocanne and Catherine Delaunay are playing
together in a mutual attentive listening. They are
playing in the present, in a single musical experiment... The
body suffers, is implied, released. Phrased, held of the breath,
concentration... around the rhythmic pulsation: anticipation of
time, delay, delicate variations in the intensity of striking and
the stamps... Bruno Tocanne makes sound the skins of his drums
with smoothness, precision. He shivers, abounds, quivers, bruisse
and punctuates with by the way the melodies of his partner. Its
rate/rhythm is propelled, along the tempo, but always in a
personal and inventive way. The speech of Catherine Delaunay is
very spontaneous, refreshing. We are far from the agreed
improvisations and the conventional stereotypes. The notes are
sought, the melodies are worked out, are built have wire of the
exchange. She shows her attachment with the melody, melody ever
solidified, which changes, evolves/moves, rejouées melody
sentences, repeated. Complicity of the other and silence. In this
play with three, silence acquire a quality, a magic density...We
are touched by this merry complicity, this generous and creative
expression. Improvised musicics, with these two musicains, have
beautiful days to leave.... " Guy Savio fullvoices January 2001
More
than a duet, a dialogue...
" More than one duet, a dialogue, but where no one never
smells oneself excluded because this music is opened to all the
songs from the possible. They have fun, are smiling... A subtle
humour floats on this music... What a drummerr, what a
saxophonist, what a splendour! Formidable! I really wonder from
where Tocanne leaves such sounds of its drums: as if it danced of
the clappers, played of the castanets, typed in its hands....
This is dancing, hopping, involving, merry, primesautier... Their
agreement pleases to me to see. " Guillaume
Lagrée LeJazz , January 2000
" The duet is often regarded
as the most demanding exercise because the osmosis of the two
musicians must be total to make live the music. The key of the
success of Catherine Delaunay and Bruno Tocanne ?. To start from
a definite framework and to authorize greatest freedom. To also
allow the set of develop without the barriers not being too
heavy. It is finally necessary to retain the effort carried to
the melody. The 9 pieces of this album make us discover this so
particular universe which shows that it is not necessary to play
hard or with too much energy to leave on the roads the improvised
musics. " Jazzophere - CD Review -
2001