Take the Mol Train: Loïs le Van Sextet (f) at Opus Jazz Club

Featuring:

Loïs Le Van - voice
Manu Domergue - mellophonium
Thomas Mayade - trumpet
Yannick Lestra - piano
Leïla Renault - bass
Roland Merlinc - drums

“What can you do today when you’re a man who wants to sing jazz in his own way, this side of the Ocean? What can you do? Dare! Dare to be your own self and, hence, to be original. Because long is the way for a male voice that doesn’t intend to follow a tradition where most male vocalists come from the USA, and where female voices are the majority. Long is the way for a voice that intends to take the risk of writing its own repertoire and of singing it. Long and hard is this way, that involves testing oneself, asserting one’s identity, finding one’s own… way....

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Featuring:

Loïs Le Van - voice
Manu Domergue - mellophonium
Thomas Mayade - trumpet
Yannick Lestra - piano
Leïla Renault - bass
Roland Merlinc - drums

“What can you do today when you’re a man who wants to sing jazz in his own way, this side of the Ocean? What can you do? Dare! Dare to be your own self and, hence, to be original. Because long is the way for a male voice that doesn’t intend to follow a tradition where most male vocalists come from the USA, and where female voices are the majority. Long is the way for a voice that intends to take the risk of writing its own repertoire and of singing it. Long and hard is this way, that involves testing oneself, asserting one’s identity, finding one’s own… way.

Loïs Le Van not only appears as original from the first notes that he sings, but he has the good taste of having taste, and an excellent one at that. This allows him to make choices that are musical before being anything else, whereas it would be so easy to merely put forward the seductive aspects of his vocal organ. Listen, for example, to the way he sets his timbre — with its assumed fragility and nonetheless obvious strength — in the context of the band. Hear how he places his voice in the vicinity of a sweet flugelhorn or of a tender and grouchy mellophonium. This all sings, obviously. The phrasing often takes adventurous turns, while never forgetting to tell tales. As for the pulse, it does follow the vivacious trail of the jazz tradition, but the piano and the horns blend it with a harmonic and melodic approach that has mainly been developed on the Old Continent during the last half-century.

… when one is confronted with such a personality as Loïs Le Van’s, it’s not only the obviousness of his musicality that strikes you (that of his voice, of the music he composed, of the band he gathered). It’s also the need, for the listener, to go deep inside (or to let surface) the roots of his/her own musicality. Deep down to the bottom of his ability to listen to beauty and to let him/herself be carried away and touched by beauty via a process that physicists know well: resonance.”
Thierry Quénum

Tickets are available for 1500 HUF on the spot, in the national JEGYPONT network of Interticket and at jegy.hu.

Please don't forget your table reservation, as seating at the Opus jazz Club can only be guaranteed in this case. Tel: (+36 1) 216 7894.

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