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ANTOINE BERJEAUT will be performing alongside Mike Ladd, voice; Julien Lourau, saxophone;Stephane Kereckibass; Fabrice Moreau, drums; David Neerman, vibraphone in KLUB CD on 11.11.2o14.

As a composer, a trumpet player and a producer originated from the Paris Superior Conservatory of Jazz Music, Antoine Berjeaut drifts between Jazz, World music and new Electronic Soundscapes, developing a great polyvalency.
As an active member of the Surnatural Orchestra, of “La Société des Arpenteurs” of Denis Colin and of his project “Univers Nino” he recorded and toured with Rodolphe Burger / Yves Dormoy / Jeanne Balibar / Julien Lourau / Paco Sery / Sandra N’Kaké / Moriarty / High Priest (Antipop Consortium) / Vin Gordon / Peter Von Poehl / John Tchicaï / Tony Malaby / Touré Kunda / Doctor L / Aloe Blacc…
He was also involved into other musical adventures in different artistic spheres : at the theater with Matthias Langhoff (“Hamlet,” at the “Théatre de l’Odéon”), with Agnès Jaoui (“Calvino reloaded”) in film scoring (“La véritable Histoire du Chat Botté” by Deschamps / Makaieff, “Les Beaux Jours” by Marion Vernoux, “Silex and the City” for Arte Television, he also created the sound design for “Le Nouveau Louxor” cinema in Paris.
Antoine Berjeaut played in many international Festivals (Banlieues Bleues, Jazz à la Villette, Montreal Jazz Festival, Sons d’Hiver, Paris Jazz Festival, Osaka International Exhibition, Jazz à Vienne, Jazz d’Or, Shanghai 2012 Universal Exhibition). He was awarded a grant from “La Fondation de France” in 2012, and has been running his own band “WasteLand” for three years.


Q:You come from France, Paris. How much is jazz music present in today’s musical scene in Paris?

AB: Jazz music is doing ok in 2014, many clubs and festivals where to play our music, we sometimes miss national support but the scene looks creative for young musicians and collectives (Surnatural Orchestra, Collectif Coax, ONJ…). it looks that different jazz communities are more mixed than before, musicians are more open minded,may be due to the fact that Jazz education has growth very well since I started in the 90’s. Musical level has expanded too.

Q:You will be presenting your last album WasteLand. Can you tell us a little bit more how the album was done & who will be performing with you in Ljubljana.

AB:WasteLand is the meeting of my musical universe and the poetry of Mike Ladd. Original composition written for Trumpet, Sax, vibes, dbass and drums around a narration of a Sci-Fi Polar of Mike. The CD was recorded live with no samples but with an idea of Electronic production while recording and mixing, I wanted to do a record that could speak to young fan of indie HipHop as real « jazz amateur »

We are playing for two years now and I feel that each concert is a unique experience for us.


Q:You released also remixed version of the album. Not many jazz artists do this nowdays.

AB: Some of my best friends are DJs »… It’s true, but seriously I was curious to open my music to new sonic territories and give the chance to good friends to treat my composition as they will have done with samples. Make a format that young audience could digg on Itunes, it’s a good opportunity to bring them to Jazz music.

And it’s also a small tribute to the roots of Jazz, it has often deal with Productors in the 60’s that influenced the music, best recording of jazz duo were record under the presssure of a third voice that gave the idea (like John Coltrane and Johnny Hartman and Impulse, they didn’t want to do it, Stan Getz and Joao Gilberto same…, sometimes difficulty expand our creativity in a good way.

Jazz music has been born the same time that the way to record it, if technicaly the twelve inch were bigger would swing tune of the 20’s lost more than 3 minutes? if Manfred Eicher wouldn’t have bring  « reverbs » in the studio at that time, will ECM musicians have play the same way ?

Don’t want to compare with those huge musicians naturaly but it’s a fact that Jazz and Production has always been linked and post production and studio recording is part of the creative context of this music.


Q:When I listen to the album, i can hear strong influence of GURU and his – JAZZMATAZZ series + electronica. Do you agree ?

AB: Yes definitely I used to be fan at that time, but I wanted Mike to be more part of the band in this project, not only in the front, and because I let more freedom to the musician in the improvisation, the result get more organic -psychedelic?- I think. I was looking for that same live experience but to let it go more freely, with no format of time and production

Q: Is there any rapper that you wish you could work with ?

AB: Many : I’m very influenced by the L.A. beat scene right now : Gonja Sufi, Jonwayne, Madlib


Q:You are also producing music for theatres, films, television. Can you tell us a little bit more about this projects.

AB:I took written lesson in Conservatory in Paris and I can also write laptop elelctronic music so it’s a lot of fun for me to do that

Also I’d like to open and cross my musical tapestry the most different background I can. Meeting others arts is very stimulated

And I keep this experience when I lead my band. As I wrote for WasteLand CD I had lot of « image » in my head, it was very cinematic already, like an imaginary road trip to a wasteland in the far East of Europe during post soviet area…

Q:And final “classical” question, what can we expect to see & hear on your concert in Ljubljana?

AB: I look forward to meet the audience,  it’s first time we play in Slovenia ever. Hope people will travel with us too.