| StandardsStandards are like a source from which we drink, again and again. Like any jazz musician, Maxime Sanchez knows the richness of these “great tunes” that must be learned to breathe in full notes, right down to their most intimate silences. The stories they tell, the images they project, and the often magical memories of their interpretation by the most illustrious artists are the seeds of a language that is constantly evolving. The pianist, who has made a name for himself in the Thelonious Monk Competition, is aware of the debt he once incurred when he opened the door to music and jazz. He knows that the foundations of his musical construction are based on these loves, often discographic, but also cinematographic. It is therefore hardly surprising that this “great repertoire” has nourished him to such an extent that he one day felt the need to celebrate it in a trio, beyond his own experiences (François Jeanneau, Magic Malik, Toine Thys...) or the groups in which he performs, as leader or co-leader (Kepler, Flash Pig), a composer committed to the development of a collective and who has established himself as a leading figure....
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| StandardsStandards are like a source from which we drink, again and again. Like any jazz musician, Maxime Sanchez knows the richness of these “great tunes” that must be learned to breathe in full notes, right down to their most intimate silences. The stories they tell, the images they project, and the often magical memories of their interpretation by the most illustrious artists are the seeds of a language that is constantly evolving. The pianist, who has made a name for himself in the Thelonious Monk Competition, is aware of the debt he once incurred when he opened the door to music and jazz. He knows that the foundations of his musical construction are based on these loves, often discographic, but also cinematographic. It is therefore hardly surprising that this “great repertoire” has nourished him to such an extent that he one day felt the need to celebrate it in a trio, beyond his own experiences (François Jeanneau, Magic Malik, Toine Thys...) or the groups in which he performs, as leader or co-leader (Kepler, Flash Pig), a composer committed to the development of a collective and who has established himself as a leading figure.
| StandardsLes standards, comme une source à laquelle on s’abreuve, encore et toujours. À l’instar de tout·e musicien·ne de jazz, Maxime Sanchez connaît la richesse de ces « grands airs » qu’il faut apprendre à respirer à pleines notes, jusque dans leurs silences les plus intimes. Les histoires qu’ils racontent, les images qu’ils projettent et les souvenirs souvent magiques de leur interprétation par les plus illustres sont les ferments d’un langage dont le modelage est permanent. Le pianiste, qui a inscrit son nom au palmarès de la Thelonious Monk Competition, est conscient de la dette qu’il a un jour contractée en poussant la porte de la musique et du jazz. Il sait que les fondations de sa construction musicale reposent sur ces amours, souvent discographiques, cinématographiques aussi. On n’est donc guère étonné que ce « grand répertoire » l'ai nourri au point qu’il ressente un jour le besoin de le célébrer en trio, par-delà les expériences qui furent les siennes (François Jeanneau, Magic Malik, Toine Thys…) ou les formations dans lesquelles il se présente, en leader ou coleader (Kepler, Flash Pig), compositeur attaché à l’élaboration d’un collectif et qui s’impose comme une personnalité de premier plan.
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