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Biréli Lagrène's Gypsy Trio
Melody is all
Paris
18/09/2009 -
Biréli Lagrène: Yes, absolutely. I didn't want to do another album based on Django. I think I've done my fair share of reworking Reinhardt classics in the past. The idea behind this album was to open up my repertoire a bit but keep the typical Gypsy swing. I felt like branching out and exploring new musical territory without, of course, forgetting who I am and where I come from. It's all music I like. I listened to The Beatles a lot in my teens together with AC/DC. My musical taste has always been very eclectic. I've always been into rock as well as jazz. I included Eddie Barclay's New York City and Loulou Gasté's Le Soir as a nod to Django's versions. He played them just before he died. But the decision to include those songs was not purely motivated by Django. They're both wonderful melodies.
Your new album also includes jazz standards and Broadway hits. Was this part of your desire to concentrate on melody?
Yes. I think the older you get in life, the more interested you become in melody. You realise there's more to music than showing off performing guitar acrobatics… I realise that there's nothing too original about the idea for this album which is ultimately about making things as simple as possible. I'm not interested in proving myself as a guitar virtuoso here. I wanted to get back to the essential and that's melody! The broad range of music on the album reflects what I did before I devoted myself to the music of Django and Stéphane Grappelli. I've always taken an eclectic approach and I've always been capable of playing a wide range of styles. I've never liked the idea of getting locked into any one repertoire, no matter how wonderful it may be. I believe the whole point of music is to encourage people to broaden their horizons. That's always been vital for me.
Behind all these wonderful melodies, of course, there's the song…
Django used to go round singing all the time, you know! People always rave about his technical prowess, but they forget that what he was above all else was an amazing arranger and composer even though he never actually learnt to read music. He wasn't just a brilliant guitarist, he was a brilliant musician who was interested in all kinds of music. He listened to Bach and the great romantic music of the 19thcentury. His interests ranged a lot wider than people think. I enjoy listening to Ravel, Debussy and Bach every now and then, too.
I've always admired Roberto as a singer especially for what he did with Luis Mariano. But I have to say it was Roberto who launched the first invitation. Around eighteen months ago he expressed interest in having me perform with him on a radio show. So I went along to meet him and I was amazed to find that this great singer seemed to have followed my music and my career. We stayed in touch after that first meeting and went on to do a couple of other radio shows. When I went into the studio to start work on my album I plucked up enough courage to ask him to guest on it. And Roberto managed to find time for me in the midst of a very busy schedule.
You've always claimed that "Django encouraged me to go off and find out what's going on elsewhere…"
I think it's essential to trace your own path in life, although I admit I love listening to amazing guitarists like Stochelo Rosenberg to see what they're up to. Personally, I've never been able to stay in one place. There are always so many things I'd like to be trying out. I've tried to break free from influences and exist in my own right and that means inventing a distinctive sound and being identified for who you are. I'm well aware that the great swing musicians have all been there before me, though, and left their mark!
Frankly, a popular French song! Playing a popular French song is extremely easy yet extremely difficult at the same time. And the truth is the simpler you play it, the better it is! (Laughs.) You have to be humble and you have to respect the melody. There's no room for long improvisations which can kill the charm.
Is that why you decided to work as a trio?
Yes, but it's a considerable challenge! I'm used to playing with other soloists and here I am playing with just Diego Imbert on double bass and Hono Winterstein on rhythm guitar. Believe me, that means I have to really work on my guitar! It can be a lot for me to carry on my shoulders, especially when we perform live. I'm aware that audiences could get a bit bored with the format, so I'm leaving the other two musicians plenty of room to do solos.
*dedicated to his loyal producer, Francis Dreyfus
Made in France
Jacques Denis
Translation : Julie Street
14/12/2001 -
