Album pre-order/Album en pré-commande

TRIAD Review -The Living Tradition

Thu, 16 May 2013 17:46:39 GMT

SYLVAIN BAROU, DÓNAL LUNNY & PÁDRAIG RYNNE - Triad
Private Label RLBCD001

A scintillating disc of tunes of varying origin played on wooden flute (Sylvain), bouzouki (Dónal) and concertina (Pádraig), which delivers more than it might promise, largely due to the richness of the recording and the players evident sense of delight in the musical arrangements which enable them to take a few chances outside the envelope of straight sessioneering. Some creative multitracking is involved (mostly in Dónal’s case, with guitar, bass, bodhrán and occasional keyboards, and Sylvain takes up the uilleann pipes on a couple of tracks and whistle on one other), while Tóla Custy, John McSherry and Jacques Pellen guest on isolated tracks.

The range of tunes is compellingly managed too, featuring hop- and slip-jig sets alongside a Macedonian horo, a Breton-flavoured take on a Swedish tune, and an apt pairing of Breton melody and slow reel. Key choices for the discerning listener must surely include Dónal’s three compositions here: the tricky rhythmic superimpositions of Skipstep, the carefree almost-slipjig aura of SunFish Ripple and the majestic gestures of Here Comes Herself – originally written for his big-band Coolfin but never properly recorded by that magnificent outfit. An invigorating listen all told, and one which showcases these musical bedfellows at something approaching their best.

David Kidman

http://www.livingtradition.co.uk/webrevs/rlbcd001.htm

Interview MONDOMIX Mars 2013

Fri, 08 Mar 2013 15:10:00 GMT

http://www.mondomix.com/fr/news/sylvain-barou-la-bretagne-se-tourne-vers-la-mediterranee

Chronique MONDOMIX Janvier/Fevrier 2013

Tue, 22 Jan 2013 16:11:38 GMT

Sylvain Barou « Sylvain Barou » (Aremorica Records) Que le flûtiste breton Sylvain Barou invite sur son premier album l’Irlandais Dónal Lunny, l’un des inspirateurs du renouveau des musiques celtiques, ne surprendra personne. Après tout, le jeune virtuose est lui-même très régulièrement appelé à Dublin. Mais qu’y fait le joueur de lyra crétoise Stelios Petrakis ? Et le percussionniste Keyvan Chemirani ? Décidément, depuis les embardées balkaniques d’Erik Marchand, les Bretons se laissent pousser un œil dans le dos, pour pouvoir contempler à la fois l’Atlantique et la Méditerranée, voire, au-delà, d’autres terres de la modalité. Habitué à passer l’hiver auprès de maîtres de la musique indienne, Sylvain Barou cultive en outre une souplesse qui lui permet de réussir un prodigieux grand écart entre le guitariste breton Jacques Pellen et le joueur de tabla Prabhu Edouard. Un pas de danse gracieux, à l’image d’un disque hospitalier mais fièrement personnel. FM 4/5

Album review from The Living Tradition Issue 93

Wed, 31 Oct 2012 20:45:00 GMT

SYLVAIN BAROU
Aremorica Records AR001

So, you like contemporary flute virtuousity? Flook, Michael McGoldrick, etc? Well from Brittany, in addition to the brilliant Jean-Michel Veillon, M. Barou is the other essential flautist sidesman of choice who must be on your radar!

Contributor to an array of recorded material, projects and world festivals linked to the Breton scene and Ireland especially (and including, more recently, the ‘supergroup’ Guidewires), he’s the embodiment of l’interceltisme influenced and inspired too, like several other innovative Celtic players, by the music of Eastern Europe, the Middle East and beyond.

All this is amply reflected in this eponymous all instrumental debut release. Over five years in recording, it features a galaxy of over 20 great players from Brittany (guitarists Gilles le Bigot and Jacques Pellen, bassists Julien Stevenin and Alain Genty for example), Ireland (Dónal Lunny, John Doyle, Liz Carroll, Paul McSherry) and elsewhere (French-Iranian percussionist Keyvan Chemirani and leading exponents of the lyra, tabla and oud).

Traditional rearrangements of Celtic source material rub shoulders with compositions of Sylvain et ses amis. Rhythmic complexity and syncopation are touchstones but never at the expense of melody. Exhilarating and energetic, the music generally melds the rhythmic and hypnotic quality of the fest noz with wider world influences adding to the corpus of sophisticated crossover music emanating from Brittany and Scotland in particular.

The flute work is intricately interwoven into the rich tapestry of the 13 pieces that feature some excellent contributions from the other, often instantly recognisable, players. With few gentle and restful passages, the overall output is for sure pretty full on, vivid and vigorous! So, crank up the volume, loosen your limbs, and enjoy!

Kevin T. Ward

http://www.livingtradition.co.uk/webrevs/ar001.htm

Chronique album sur ETHNOTEMPOS Octobre 2012

Tue, 16 Oct 2012 19:07:20 GMT

Si le flûtiste Sylvain BAROU avait déjà à son actif une trentaine d’albums, celui-ci est le premier où il apparaît en tant que soliste. Pour ne rien gâcher, il est accompagné d’une équipe de musiciens plus qu’honorable. L’album est l’occasion de présenter, autour de la musique irlandaise – sa spécialité – un large échantillon d’ambiances et d’instrumentations différentes qui nous propulse des terres celtes à l’autre bout de la planète et nous fait par courts instants voyager sur d’autres terres musicales que celles des musiques traditionnelles. On retrouve ainsi dans plusieurs titres des formes de danses irlandaises (jigs, reel), soudain traversées d’un solo de guitare jazz ou de couleurs harmoniques sortant du cadre traditionnel. Notons également les interventions très réussies de tablas, tar, zarb ou daff, instruments d’Orient qui apportent une autre couleur à ces musiques européennes, et la présence du titre Esfahan, composition du célèbre percussionniste Keyvan CHEMIRANI. Virtuosité, couleurs et timbres foisonnent dans cet opus et montrent que ce grand maître de la flûte irlandaise a de nombreuses cordes à son arc. Site : www.sylvainbarou.com Chloé Breillot Commandez ce disque chez notre partenaire AKHABA: Cliquez ici http://www.rythmes-croises.org/ethnotempos/articles.item.702/sylvain-barou.html

Article on World Music Central website

Wed, 12 Sep 2012 20:29:37 GMT

http://worldmusiccentral.org/2012/08/14/the-windy-breton/

IRISH MUSIC MAGAZINE July/Aug INTERVIEW by Séan Laffey

Wed, 12 Sep 2012 14:35:20 GMT

click to enlarge

IRISH MUSIC MAGAZINE - Album Review

Tue, 11 Sep 2012 14:23:00 GMT

SYLVAIN BAROU
Own Label AR001
13 Tracks, 62 Minutes
www.sylvainbarou.com

A Breton flute phenomenon who first hit the Irish mainstream with the group Guidewires, Barou is joined by twenty musical compadres for a solo debut which has been more than six years in the making. Worth the wait, I’d say. While the material here is mainly traditional, it’s drawn from a wider geography than usual: Brittany, Ireland obviously, but also Greece, Bulgaria, Afghanistan and elsewhere.
The swirling Naga Jigs are from the Guidewires repertoire, powerful and driving. Like much of this recording, their traditional pedigree is clear but their treatment here is unapologetically contemporary. A bit of Jaques Pellen’s jazz guitar, a strong backbeat, a very light touch on the percussion, and a couple of carefully chosen collaborators on the melody line make this a magical track. Sylvain follows up with a set of horos in the style of Andy Irvine’s East Wind album, wonderful stirring stuff with exotic rhythms and outrageous flute virtuosity. This is mainly a flute album, but the master also moonlights on uilleann pipes and the small Breton pipes.
About one third of this recording is what i think of as Irish music – Bold Doherty, The Humours of Carrigaholt, The Squares of Crossmaglen and Charlie Lennon’s Windy City. Sylvain Barou enlists the likes of Lunny, Carroll, Doyle and Rynne to provide a top–quality Irish core for these and other tunes. A further third is distinctively Breton, with Tons and Plinns and Ridees: for this, a whole P–Celtic crew chimes in, centred around the cittern of Ronan Pellen. Names like Youenn Le Bihan, Alain Genty and Giles Le Bigot bring out the best in Breton music here, from the gorgeous Margaretig to Barou’s own funky Mare Nostrum. That leaves one third split between Arab music, Asturian alboradas, and a few other things. The flute flies from one form to the next – there are no clear boundaries, just breathtaking melodies.
Nothing on this CD is too exotic to appeal to Celtic music lovers, but some of it is certainly fresh enough to raise an eyebrow or two. I like it a lot, and I hope you can all get your hands on a copy.

Alex Monaghan

Slovak Review- Trad's not dead

Sat, 28 Jul 2012 05:20:00 GMT

Od mimo?ádn? talentovaného bretonského flétnisty (ovládajícího také hru na biniou kozh, irské loketní dudy a r?zné exotické druhy fléten) se dá o?ekávat mnoho. Na klasickou porci bretonských ridée, gavott nebo irských jig? a reel? však zapome?me. Jeho debut se ubírá jinou cestou, ne? na jakou jsme zvyklí hlavn? od irských flétnist?. By? je Sylvain Barou v Irsku jako doma, pravideln? koncertuje se skupinou Guidewires, v triu s Donalem Lunnym, Paddraigem Rynnem (oba uslyšíme na tomto albu) nebo v dalších sestavách. Z debutového alba však zjistíme, ?e jeho muzikantský záb?r je daleko širší. A p?esahuje i kontinenty. Irských ?i bretonských melodií se na albu do?káme také, ale spíše v podob? drobných kousk? dopl?ujících jednu velkou pestrou mozaiku. Nejedná se ovšem o kousky nevýrazné – p?edevším reelové sety se díky své razanci vryjí poslucha??m na dlouhou dobu do pam?ti. Bretonské Ridees nás zase velmi snadno p?esv?d?í, ?e jim to v jazzovém hávu sluší. Jedno je tedy jisté - tradi?ní Irsko ani Breta? z toho nebude... Seznam hostujících hudebník? skute?n? napovídá, ?e se jeho debut ponese v duchu po?ádné world music. A není to v?bec na škodu! Sylvain Barou prost? pat?í k ost?íleným muzikant?m, kte?í dovedou šikovn? proplouvat mezi hudebními styly a od ka?dého si vyp?j?it jen to nejlepší. Rafinovan? spojuje rytmickou dravost irské a asturijské hudby, syrovost Bretan? i melodickou komplikovanost orientálních melodií... K tomu všemu ješt? p?istupuje s jazzovou svobodomyslností. Jeho divoká sóla vás mohou zkrátka ne?ekan? katapultovat tak?ka kdykoliv a kdekoliv v pr?b?hu skladby – uprost?ed reelového setu, v balkánském horu (kde jeho flétna zní skute?n? skoro jako bulharský kaval), v afghánské melodii... Sylvain Barou dokázal nalézt cestu tam, kde by si mnozí nadšení hudebníci vylámali zuby. V jeho hudb? není místo pro zdvo?ilé o?ukávání a plytké melodické pochlebování cizím exotickým styl?m. Vrhá se do nich st?emhlav a proniká jimi a? na d?e?. P?es všechny tyto pr?niky však jeho debutové album postrádá jakoukoliv stylovou nevyvá?enost – nic nep?ebývá, ka?dý nástroj má sv?j prostor. V aran?ích nezaniká ani rukopis hostujících hudebník?, tak?e v irském The Windy setu (který skute?n? vyniká prudkostí uragánu) z?eteln? uslyšíme nezam?nitelný bodhrán a bouzouki Donala Lunnyho, concertinu Paddraiga Rynnea... V JD's reels prozm?nu jisk?í energická kytara Johna Doyla. Od dob McGoldrickových alb, z nich? nejv?tší hudební revoluci zp?sobilo výborné Fused, se d?ev?ná p?í?ná flétna ve sv?t? fúzí nadobro zabydlela. A s tím, cht? necht?, vyvstal i pocit, ?e u? není moc co objevovat – za ty roky u? p?ece jenom tato flétna v kombinaci s elektronické beaty ?i doprovody na tabla zvolna ztrácela na po?áte?ní atraktivit?. A p?icházet s n??ím novým, neot?elým bylo tak stále t??ší a t??ší. Jak se s tím vypo?ádal Sylvain Barou? Více ne? znamenit?. P?edevším však svým debutem zajistil nebývalý p?íval world music. Takový, jaký se dnes ani v Bretani, Irsku ?i Asturii jen tak nevidí translation in english: http://translate.google.com/translate?sl=sk&tl=en&js=n&prev=_t&hl=en&ie=UTF-8&layout=2&eotf=1&u=http%3A%2F%2Ftrads-not-dead.blogspot.fr%2F2012%2F07%2Fsylvain-barou-debutove-album.html&act=url

chronique Armen-Juillet/Aout 2012 (Michel Toutous)

Thu, 05 Jul 2012 20:25:00 GMT

Article Trad Mag N°144 - Sylvain Barou

Sun, 01 Jul 2012 17:35:00 GMT

Dónal Lunny about Sylvain Barou (Jan 2012)

Sun, 01 Jul 2012 17:23:26 GMT

"In the course of my musical career - particularly in the earlier
years, I have wandered in and out of many different genres of music.
Looking back on the journey, it feels like just that; a meandering
exploration which lacked a particular direction until one day I
realised that I was more connected with Irish music than any
other.From then on, the itinerary became simpler; a more direct route,
but not without occasional diversions into other regions, which
helped, and still help to replenish my passion for music generally.
Extending the analogy of travel and exploration to Sylvain, I think of
him as a mountaineer. Not only is he avidly interested in music from
every corner of the world, but he also seeks out challenges; peaks of
musical achievement which can normally only be accessed by musicians
who have been born into their particular culture, and who have served
arduous apprenticeships in their chosen disciplines. Reaching these
heights demands a degree of musicality one encounters only
occasionally.
This album is an exotic collection of music by any standards. In the
traditional tunes, the listening experience is all the more intense
and exhilarating because of the depth to which Sylvain has penetrated
the culture from which each piece originates. And in the treatment of
the newly composed pieces, the buoyant dynamic power and fluidity of
the playing is obvious.
The ongoing pursuit of musical knowledge and technique will continue
to inform and improve Sylvain's playing in different ways; most
importantly it will enable him to keep giving joy and pleasure to
those who listen to his unique voice. I feel honoured to share this
part of his great journey."

Dónal Lunny
Jan 2012

Chronique - Akhaba.com

Sat, 23 Jun 2012 13:16:45 GMT

En duo, trio, quartette ou en smala, le souffleur breton Sylvain Barou est de toutes les rencontres et aventures en musiques du monde, un musicien préféré des musiciens, expérimenté malgré son jeune âge (il est né en 1978), fort de ses participations à une trentaine d'albums. Il a eu enfin le temps de finaliser son premier album solo. Enfin, pas si solo que ça puisque le surdoué de la flûte traversière en bois est entouré par un casting impressionnant de fines gâchettes. Une vingtaine de joueurs qui rassemblent un spectre édifiant de styles, de manières, de savoirs, mais tous habités par la musique modale. Une culture qui irrigue à la perfection cette douzaine de morceaux, de voyages qui (re)visitent notamment les terres celtes en commençant par l’Irlande avec force jigs et autres reels (The Naga Jigs, The Windy Set, Jd’s Reels). Alborada reprend un thème traditionnel des Asturies pour en faire une ronde énergique où giguent de concert bodhran, bouzouki, fiddle, guitare, uilleann pipes. Bien sûr, la Bretagne est aussi représentée par ses musiques à danser, des ridées et plinns qui font le sel des titres… Ridées, Ton doubl plinn illuminé par un dialogue enlevé entre la guitare rock de Jacques Pellen et le tabla indien de Prabhu Edouard. Il y a là-aussi de la gravité avec la reprise d’un traditionnel breton, Mélodie kozh qui fait pleurer biniou kozh et bombarde sur un rythme de gwerz émouvant. Un autre blues introduit une autre culture ancienne, l’art afghan de Sha Koko Jaan sublimé par le bansuri de Barou, le cistre de Ronan Pellen (neveu de Jacques), les zarb et daff de Keyvan Chemirani, la contrebasse de Julien Stevenin, la lyra de Stelios Petrakis ou la frappe magique de Prabhu. Avec Esfahan, composé par Keyvan, Hamid Reza Khabbazi déploie des accords de tar iranien quasi mystiques dans ce plus long morceau de l’album, près de dix minutes d’échanges dominés par des cordes inspirées (guitare, contrebasse, lyra, oud). Entre Est et Ouest, Sylvain Barou a trouvé la passerelle : Horos, une improvisation issue du répertoire balkanique, une sorte de jazz qui se transforme par magie en danse irlandaise. Par Bouziane Daoudi | akhaba.com

Le Peuple Breton - Juin 2012

Wed, 06 Jun 2012 21:52:17 GMT

OUEST FRANCE-La flûte magique de Sylvain Barou - Finistère

Wed, 06 Jun 2012 21:46:03 GMT

http://www.ouest-france.fr/2012/06/01/finistere/La-flute-magique-de-Sylvain-Barou--62950957.html

vendredi 01 juin 2012
Musique bretonne

Sylvain Barou. C'est l'un des flûtistes les plus brillants de sa génération. Cela fait cinq ans que l'artiste prépare ce premier enregistrement éponyme qualifié de « solo », mais enregistré en compagnie de dix-neuf prestigieux invités. Parmi eux, Dónal Lunny, Keyvan Chemirani, Liz Caroll, Jacques Pellen, Alain Genty, etc. Entre l'Irlande, la Bretagne et l'Orient, le jeune musicien virtuose jette un pont et prend de la hauteur. Loin d'une world music un peu touche-à-tout, il nous propose un métissage délicat. Un très bel album.

Aremorica Records.

art. Gwen Dayot

Chronique Le Cri de L'Ormeau Juin 2012

Thu, 24 May 2012 19:07:49 GMT

Sylvain Barou
C’est à un voyage riche de sons et rythmes multiples que nous convie le premier album solo du flûtiste Sylvain Barou, jusque là essentiellement sideman très recherché sur la planète trad. Bretagne, Asturies, Irlande et Ecosse bien sûr, mais l’interceltisme ne constitue pas la seule porte de cet enregistrement. La caravane passe par les Balkans pour se rendre en Orient, terminus en Afghanistan. Et avec ça, un générique à faire pâlir est venu donner le coup de main au maître d’œuvre…. Dans chacun des territoires qu’il explore, ses accompagnateurs lui tissent un beau tapis rythmique et harmonique sur lequel il n’a plus qu’à poser ses notes. Son gros son de flûte dégage des harmoniques puissantes, il joue volontiers du chromatisme, chose plutôt rare dans les musiques populaires et cela donne une personnalité musicale qui en fait l’égal d’un Jean-Michel Veillon, référence pionnière de la flûte en Bretagne. Il va sans dire que Sylvain Barou fait preuve d’une maturité qui l’autorise à se lancer dans des envolées hors partitions, spectaculaires en diable mais qui ne sacrifient rien à la virtuosité gratuite. Au total, un flûtiste accompli qui a su attendre pour ce premier opus, bien lui en a pris ! (Karr-Nij - juin 2012) - www.albumtrad.com

Le Telegramme - 10 Mai 2012

Thu, 10 May 2012 16:55:36 GMT

Grandiose de virtuosité et de couleurs musicales, l'album éponyme du surdoué Sylvain Barou est en tous points sublime. Le flûtiste ayant mis à son générique instrumental hyper créatif, le gotha de nos meilleures pointures pour douze titres d'inspiration celtique, mais également afghane avec l'étonnant morceau «Shah Koko Jaan».

THE JOURNAL OF MUSIC- Ireland

Fri, 27 Apr 2012 14:16:58 GMT

Guidewires flautist, Sylvain Barou, has a new album, his first solo one, coming out later this month. Self-titled, it features a long list of guest musicians, some traditional Irish, some Breton and some from further afield; namely, Dónal Lunny, Jacques Pellen, Ronan Pellen, Julien Stevenin, Keyvan Chemirani, Prabhu Edouard, Gilles Le Bigot, Youenn Le Bihan, John Doyle, Liz Carroll, Ed Boyd, Stelios Petrakis, Hamid Reza Khabbazi, Florian Baron, Rubén Bada, Alain Genty, Pádraig Rynne, and Méabh O’Hare. Based in Rennes in Brittany, Barou has spent a good bit of time in Ireland, and describes this album as being ‘like a log book of the work of the last ten years’, including Breton, Irish, Indian, Eastern European, Greek and Middle Eastern elements. With all the variety of influences, Barou explains that he didn’t want the album to ‘feel like you are changing CDs on every track’, and so paid particular attention to ‘keeping some homogeneity to the sound’. About half of the tracks are traditional (including a good few Irish tunes, such as the jigs ‘Grier’s’ and ‘Bold Doherty’, and the reels the ‘Humours of Carrigaholt’ and the ‘Squares Of Crossmaglen’), mostly from old tapes and recordings Barou has been collecting over the years, but also some he has learned along the way from friends. The more exotic material includes a famous 7/8 traditional Afghan song, ‘Shah Koko Jaan’, adapted as a tune, and some Greek and Bulgarian pieces. The rest are compositions by Barou and by friends like Ronan Pellen, the cittern player, who happens to be a neighbour, and Keyvan Chemirani (the French-Iranian percussionist). Lunny, who has been playing with Barou and Padraig Rynne in a trio of late, has this to say of Barou: ‘I think of him as a mountaineer. Not only is he avidly interested in music from every corner of the world, but he also seeks out challenges; peaks of musical achievement which can normally only be accessed by musicians who have been born into their particular culture… Reaching these heights demands a degree of musicality one encounters only occasionally.’ Barou himself shared some interesting thoughts on the traditional music scene in Ireland with The Journal of Music: ‘From the external view that I have here, it would seem that Ireland is more conservative than Scotland, for example. We see many examples of groundbreaking and extremely innovative traditional music coming from there lately, and the same goes for the new Breton music scene. But on the other hand, I heard some absolutely gorgeous ‘pure drop’ trad music played by really young Irish musicians recently which really impressed me, and which is fantastic too. I think the music we are going to hear from Ireland in the coming years is going to be fascinating. Musicians and also the audiences are much more open-minded now than they used to be, even ten years ago. I feel that Irish musicians are protecting their tradition very well while also bringing it to new places thanks to some interesting crossover work that we can see happening more often. I just hope that the public will continue to support Irish music. I was a bit shocked to realise that it’s very hard even for some of the most famous Irish acts to sell out a venue. People don’t go out to gigs as much as they used to. It’s sad. Trad music needs to be supported more, by the population and by the policy makers.’ PAUL O'CONNOR - the Journal Of Music

ITALIAN CD REVIEW by BLOGFOOLK

Wed, 25 Apr 2012 18:28:03 GMT

Sylvain Barou – Sylvain Barou (Aremorica Records/Albumtrad) Noto per essere uno dei componenti dei Guidewires nonché di un nuovo trio insieme a due leggende della musica tradizionale irlandese come Donal Lunny e Padraig Rynne, Sylvain Barou è senza dubbio uno dei più talentuosi flautisti bretoni della nuova generazione. Sebbene abbia solo trentadue anni, il suo curriculum presenta una lunghissima lista di collaborazioni prestigiose tanto in studio con artisti come Denez Prigent, Dan Ar Braz, Soig Siberil, Gilles Le Bigot, Liz Carroll, Yvan Cassar, Alain Genty, Erik Marchand, Keyvan Chemirani, e Prabhu Edouard quanto sul palco con Celtic Procession, Jean-Charles Guichen, David Pasquet. A questo va aggiunto anche il fatto che il suo eclettismo e il suo percorso di ricerca lo hanno condotto negli anni ha superare i confini della musica bretone e celtica, per studiare da vicino anche sonorità provenienti da altre zone del mondo come l’India, la Turchia, la Grecia, l’Iran e la tradizione sufi. Non è un caso dunque che oltre al suo strumento di elezione il flauto, Barou suoni con disinvoltura anche le uilleann pipes, la cornamusa Kozh, il flauto bansuri, e il duduk. Recentissimo è il suo disco di debutto omonimo, registrato in un lungo periodo di tempo che va dal 2005 al 2011 approfittando dei pochi momenti liberi che caratterizzano la sua vita. Interamente strumentale, il disco di compone di tredici tracce equamente divise tra inediti e brani tradizionali, tratti da vecchi nastri o registrazioni sul campo effettuate dallo stesso Barou, compongono una sorta di affascinante diario di viaggio che compendia tutto il suo percorso artistico. Non a caso al suo fianco ha voluto molti dei suoi già citati amici e collaboratori con i quali in questi anni ha lavorato in studio e sul palco. Durante l’ascolto infatti si spazia dalla musica irlandese delle gighe The Naga Jigs, e The Windy Set al reel di JD’s Reel al 7/8 della tradizione afgana Shah Koko Jaan fino a lambire la musica greca e balcanica nella splendida Mare Nostrum. Non mancano alcune piccole gemme come la piccola suite che si compone dell’intro Margaretig e della fascinosa Ton Doubl Plinn, o la sinuosa Esfahan nella quale traspare tutto il suo amore per la musica orientale, e da ultimo l’intesa Melodie Kozh. Considerare questo primo disco solista di Sylvain Barou come un debutto sarebbe assolutamente riduttivo, è piuttosto un opera di alto profilo artistico che non mancherà di suscitare grande interesse e curiosità tanto da parte degli appassionati quanto da quella degli addetti ai lavori.

CHRONIQUE DE L'ALBUM/CD REVIEW - RKB

Wed, 25 Apr 2012 18:27:12 GMT

SYLVAIN BAROU: SYLVAIN BAROU 1er album **** Exceptionnel ! Virtuose et sensible, l'horizon de ce surdoué de la flute traversière en bois n'a pas de limites. Bretonne, celtique, orientale, sa musique est avant tout respectueuse des traditions. Son exigence instrumentale est celle des plus grands, elle est faite d'une véritable et profonde connaissance et de capacité à l'échange. On ne saurait rêver de plus belles participations. La palette de musiciens invités en atteste. Quelquefois démonstratif, Sylvain Barou nous fait partager son monde musical sans frontières : Avec cet album Sylvain BAROU confirme sa place naturelle parmi les Instrumentistes majeurs du monde celtique et de la world music Européenne. Gaby Kerdoncuff-RKB