Loubelya represent the meeting of the subtle melodies and breath of the diatonic accordion, perfectly tinted by the inebriating timbre of the saxophone and taken by the energy of the clarinet and the captivating depth of the double bass... A harmonious cocktail of original compositions within the trad'current and versions gathered during encounters along the festival paths...
An irresistible invitation to dance!
(Neo)trad-jazz-world-music. This would be our suggestion if we had to classify this trio's music.
Labels aside, barbarian neologisms that tend to compartmentalise music, Trio Loubelya have, on the other hand, chosen to live it in full. This album is their equal: both intimate and eloquent, virtuous and popular. Moving. Just like the cumplicity that has risen amongst their members, from ball to ball, along Europe's roads. Mazurkas, bourrées or circassian circles appear against the backdrop of the bucolic parks of Lisbon, the landscapes of Southern Italy, the magic of Venice, the strenght of the Azorian volcanoes or the warmth of little cafés in the Arnaud Bernard neighbourhood in Toulouse. The sublime breath of the diatonic accordion creates a space where the clarinet and the saxophone, sometimes subtle, sometimes mischievous, defy the circular depth of the double bass.
Three strong personalities, those of Marie Constant, Florent Lalet and Rolland Martinez, no doubt, that merge here giving way to a fourth: Trio Loubelya. Loubelya are
Unfasten your seatbelts on this Caravan and get ready for a journey with no borders, between imagination and having your feet on the ground. Along the way, you'll discover melodic landscapes as delicate as they are dense, intertwining intense with therapeutic, longing with euphoric, where every humour is invited to join the ride. There's room for all. Behind the wheel, you'll find Eva Parmenter, author of many of the melodies, sounding her temperamental Diatonic Accordion: Miguel Gelpi, single-handedly on the Double Bass; Ricardo Brito, flowingly improvising on the Guitars and Bagpipes; and Baltazar Molina, on the roadthirsty Percussions.
Each of the compositions on the setlist corresponds to a traditional dance from several geographic locations – France, Sweden, Portugal, Bulgaria, etc. What we propose on this journey is to cross paths, going faster on the hot roads of the circassian circle, stoping at the gorgeous mazurka viewpoint, only to speed up again on a long motorway of waltzes, amid designed routes, searching for a new adventure. Enjoy the ride!
Diatonic Accordion Vocals
Classical Guitar Bagpipes
Cajon Tar Riqq
Bogus, already celebrating its 10 year anniversary this year, is a folk/jazz quartet created by the Belgian brothers "De Schepper".
For the festival a 3temps, Bogus will perform as a duo.
During all these years, Bogus won all kinds of competitions in Belgium and even in France. With concerts in Portugal, the Netherlands, France, Germany and Tanzania, the musicians from Bogus duo, on the saxophone and the guitar, have all the international experience they need to create a magical evening, full of energy or intimitate. You can expect folk/jazz music with lots of improvisation by Florian and Ambroos De Schepper.
Florian De Schepper
Ambroos De Schepper
At the origin Zigo was a duo with Pablo Golder on accordion and compositions and Sophie Cavez on the bass. After a while they asked Florian De Schepper on the electric guitar and Wout Van Liedekerke on the percussions.
The meaning of the group is to make a bridge between danceable music and world-funk-fusion. Let yourself get surprised by the freshness of their sound and their groovy, hot and sexy melodies. In 2014 Sophie stopped her cooperation with Zigo and got replaced by the great Jelle Van Cleemputte. Also saxophone player Ambroos De Schepper joined the band, adding a second melody instrument and amazing solowork.
Although Zigo just exists for a couple of years, the band already performed in Spain, Italy, Portugal, Holland and France. In autumn of 2015, they've planned a tour in Italy, with concerts in Rome, Milan, Florence, Napels and many more.
The street and the balls is where they will start playing and building their repertoire from 2008, in France, Portugal, Belgium or Italy. Carried by the "neotraditional" currents and the more classical melodies (Rameau, Telemann, Schubert, Weill), they will progressively compose their own repertoire and introduce it to new audiences, in theatres, jazz festivals, Japan…
Rhizot(t)ome derives from an ancient herbalist's word which refers to the "chopping of the roots". Their music is always hand in hand, in its creation, with the notion of tradition, with which one must play: to revive its roots in order to better let go of them. This play also consists of creating new ones, by drawing colours, textures, rhythmic constructions in different repertoires and regions of the world. From this creative process original compositions are thus born, revealing intimate territories to be conquered.
Taking, retaking, turning compositions around, whose structures are borrowed from traditional songs, shooting them in improvised flights in order to better "recompose" them and then meeting them again – almost – intact.
They play attempting to find an energy, through listening and improvising, that would make all dances possible. Two acute sensitivities, between sweetness and rant: the instruments talk to each other, seek to learn one another and build new stories, new dances each time. The concert becomes ball and vice versa.
A string stretches between here and far, between the familiar and the unknown, and it is on this string that improvisation wanders. From attachment to rupture, codes and references must be taken and shown the door. This is therefore an intimate and musical cartography, which in fact invites us on a journey; from wanting to share these explorations with evermore diverse, evermore remote audiences, through the bodies, up to where possible traits of a common imagination are drawn.
A generous and sensual music that looks to gather and make us all leave together, from wherever we may be.