I went to New Orleans, alone, to record this album, a guitar solo, because of James Lee Burke and Jim Jarmush.
Never been there before, knew nobody neither. I wanted to feel the city for this first recording under my name, because music I love comes from here.
Mark Bingham was the proper ingeneer for the sound of this record: roots yes, but worked. Like an old carpet choosen for a photo. Old carper yes but carefully placed and lightened.
At the end of the recording session, what I thought would be a spot of what I do became the reasons why I wanted to be a musician.
On 3 songs I've used a looper but I didt it "live".
I hope you'll enjoy.
Thanks very much for your attention.
And thanks for your curiosity!
I didn't really knew what would be the result of the session.
All I knew was I did'nt want a "guitar-heroe" album, I didn't want a "clean" album with re-recordings to make everything "smooth".
The few thing I've anticipated didn't work after all, so this album in mainly improvisated.
This is the story of the different tunes.
COLTRANE: I just knew the very last melody of the song, I had no clue of what I'd play before.
I've worked traditional music of the north of India with the great Patrick Moutal.
I tried to had this colour to the jazz guitar way of playing if there's a jazz guitar way of playing actually...
EMIGRE: I just knew I'd use a subway ticket, I had no idea of what I'd play.
Emigré means migrant in french.
WHEN I GROW TOO OLD TO DREAM: A beautiful tune and a beautiful tittle.
I've discovered this song several years ago in a parisian band I play with for a while, the Brother D Blue band.
We play quite often at " Le caveau de la Huchette " in Paris.
Eveything is there in this tune: chords, melody.
Oscar Hammerstein was a giant.
WHO THE DAMN' IS JOHN SCOFIELD? : A tribute to this wonderful guitar player.
A great musician who opened my eyes with jazz.
I didn't like this bloody jazz music at all until my 18's.
Too much notes, too intellectual for me.
Then I heard John Scofield, Archie Shepp, tunes like Footprints and I realized, surprised, that jazz could talk to me.
All I knew for this song is that I'd play different moods because John Scofield has several lives as a musician. I knew I'd play a bass line, the groovier I could, and I'd begun with the first chords of Yawn (John's composition on SHINOLA album, a great great album).
AU BORD: I tried to compose like a bridge between old Europe and old Negro Spirituals.
This is one of the tunes I've anticipated for the recording session....
And of course it didn't work as it was supposed to (if so, where's the fun....).
One singer was missing (it's originally written for 4 singers) so I had to change arrangement at the very last moment.
John Boutté, Nicholas Payton and Cornell "Continental" Williams discovered the tune at the very last second.
Many, many thanks to them It's a tricky tune.
Au bord means On the edge in french.
MB: a composition for MB. Tried to play the most simply I could.
IN MAN WE TRUST (almost) : A tribute to Albert Ayler. I had several pedal effects broken in the plane, so what I anticipated for this tune did'nt work at all, I had to do something else.
JESUS JUST LEFT CHICAGO: One of my favorite song of ZZ TOP with " Blue Jean Blues ".
About Mississippi and NOLA : "(...) Jump through Mississippi, muddy water turn to wine(...)".... with Katrina I tried to give to this song something a little ironical and actual.
Not sure I succeeded.
About the bills on the jacket (cover album, photographer: Sylvain Gripoix) : It's a NOLA tradition when It's your birthday. And gess what...it was my birthday when I recorded.
released 25 October 2012
John Boutté, Nicholas Payton, Cornell "Continental" Williams:
Vocals on "Au Bord"
Pierre Durand: Electric Guitar, Johnson and vocal on "Jesus just left Chicago " (Billy F.Gibbons, Joe Michael Hill, Frank Lee Beard)
All compositions by Pierre Durand except :
- When I Grow Too Old to Dream (O. Hammerstein, S. Romberg)
- Jesus Just Left Chicago (B.Gibbons, J. Hill, F. Beard aka ZZ TOP)
"Coltrane", "Emigré" , "Who the damn' is John Scofield" , "In Man we trust (almost)" are spontaneous compositions.
Recorded at Piety Street Recording by Mark Bingham and Wesley Fontenot (assistant engineer).
Mixed by Mark Bingham and Wesley Fontenot (1, 2, 6, 8).
Mixed by Ludovic Palabaud (3, 4, 5, 7)
Mastering: Raphaël Jonin
Photos: Sylvain Gripoix
Graphic Design: Anne Horel
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