As a child, my home was filled with music of all kinds.
On the other side of the wall, my brother listened to operetta, classical music and French songs. In the living room, it was the compact discs from my father’s jazz collection. And when we travelled by car, my mother’s radio would play international pop and later on, world music.
I also listened to everything, from György Ligeti’s wind quintets to Toto Cutugno’s hits - my first CD -, with albums by Renaud García Fons in between.
I grew up with this diversity, where no music was more important than another, far from any form of hierarchy. My musical imagination is, as a result, composite, plural, multiple.
It was this ’biographical soundtrack’ which very early on formed the basis of my profession as a musician, always in search of a meeting between experiences, practices, styles, soundscapes, cultures and musicians.
This personal and intimate original score was drawn from the sounds of my childhood and adolescence, both spent in a small coastal town on the border with Italy. It was there, in Menton, on Avenue Vicente Blasco Ibáñez, that I grew up. It was also in this town that the author of The Four Horsemen of the Apocalypse ended his life. The Spanish politician and journalist lived in Fontana Rosa, an unusual residence bordered by an Andalusian garden, designed by himself in 1922 and separated from my childhood home by aC railway viaduct...
It is in homage to my family, to the place that sheltered it and to the musical diversity that ran through it that I chose to name my project in this way.
The Blasco Project marks a stage in my artistic evolution since it embodies, in short, the synthesis of my various musical inspirations. My past projects have always been at the crossroads of diverse influences.
Here, however, I wanted to go even further and to take on all of them in a single gesture of composition and interpretation, without limits.
Plural, therefore, The Blasco Project is also multi-facetedC and, according to the principle of variable geometry, it will find itself in diverse instrumental forms. As a crossing place, it will have at its heart, in future incarnations, the meeting of musicians from different cultures and worlds, from classical to jazz, through world music, song, improvisation, etc.
For this first opus, I wanted to share my music with my long-time accomplice, Rémy Yulzari, a double bass player who has for many years developed a very original approach as a soloist. Himself at the crossroads of classical and traditional music, particularly Jewish music, this lower-strings tightrope walker undertakes a completely personal approach to his instrument.
The original repertoire for this album, in the arrangements that are offered here, could not exist without the talent of such an instrumentalist. Thanks to his nuanced palette of techniques and timbres, Rémy opens up possibilities that every composer dream of reappropriating in their compositional universe.
If, indeed, I imagined this album for this particular configuration of instruments, it is because I’m a great believer in the potential of the piano-bass duo. The harmonic richness of the former and the originality of the latter’s timbres - when working with double bassists as keen on research as Rémy Yulzari - offer a range of colours that vary from rhythmic and percussive to melodious and lyrical, but also from earthy and visceral to aerial and spiritual.
Throughout this album, it is between jazz, world music, pop and chamber music that the journey will wend its way. But my music also assumes another degree of diversity. That of discourse. Some titles, like "Rinascimento", favour improvisation and free speech; others, like "Niño", composition and cantabile melody. While some of the pieces are moreC classical in form, others have a more elaborate structure.
Some end up being constant in character, while others are always evolving. Whatever its format, however, all my music is concerned with allowing a certain narrative to be heard. So here is my "imaginary folklore" for your ears. I invite you to wander through it and, in order to do so, to travel through musical lands that are sometimes real, sometimes imagined.
When I am asked what kind of music I play, I find it difficult to give a clear-cut answer. I actually ‘speak’ several musical languages, in a way that is both non-exhaustive and deep, versatile and sincere. And it is in order to better speak my own.
Mathieu Cepitelli, avril 2022
1. Sans doute
2. Un Orient
3. Un descanso (1)
5. Niño (nana para mi hijo)
6. Un descanso (2)
7. Gezelligheid In Utrecht
Piano, Rhodes, Composition