Troubadours Sylvain Rifflet

• 1 Sordello (Da Goito) 03:07
• 2 Eble (De Ventadour) 03:38
• 3 Alberico (Da Romano) 04:51
• 4 Beatrice (De Die) 04:52
• 5 Na (De Casteldoza) 03:15
• 6 Le Murmure 05:36
• 7 I Vo Bene 02:22
• 8 Bertran (De Born) 03:46
• 9 Azalais (De Porcairagues) 04:44
• 10 The Peacocks 08:57
• Total Runtime 45:08

Info for Troubadours

French musician living in Paris, his main instruments are tenor saxophone and clarinet. He also plays flutes and toy instruments such as music box, toy piano and metalophone. He studied saxophone with Pascal Dupont, Michel Goldberg and Philippe Portejoie. Graduted from Paris conservatory, he has played in many french and european big-bands: Le Gros Cube (Alban Darche), Le Sacre du Tympan (Fred Pallem), Pandemonium (F.Jeanneau) etc …

Sylvain Rifflet, tenor saxophone, clarinets
Benjamin Flament, percussion
Verneri Pohjola, trumpet
Sandrine Marchetti, harmonium

Sylvain Rifflet
Ever since he was a teenager and his discovery of Stan Getz‘ legendary album Focus, Sylvain Rifflet had dreams of making a record that would revisit the same format, and give new impetus to the saxophonist’s very successful blend of classics and jazz. It was an ambitious project, but also an opportunity which Verve has now provided.

Steeped in the spirit and methods of the album that Verve originally released in 1961, Sylvain Rifflet presents us with Re-Focus: a rewriting of Focus, a tribute to two elders he admires, and simultaneously a faithful reflection of Rifflet’s own universe. A new ambitious step in Rifflet’s musical career which affirms his genius.

In 1961 with Focus, composer Eddie Sauter has written his name into the “great classical composers” tradition, when he proposed a kind of “real” concerto except that, jazz oblige, the part that fell to soloist Stan Getz, who had commissioned the piece, was not only performed by him, it was improvised. The 20th century was marked by a new rivalry between, on the one hand, written scores (to which the majority of classical composers continue to have recourse), and on the other hand, recordings (that particular process whereby improvisers leave a trace of their work for future generations). The two approaches, which are in no way contradictory, were reconciled when Focus appeared in 1961. The marriage between stave and disc, classics and jazz, paper transcriptions and what philosopher and cultural critic Walter Benjamin called “mechanical reproduction” couldn’t fail to fascinate Sylvain Rifflet, laureate of the 2016 “Victoire de la Musique” for his album Mechanics. To date, Sylvain continues to defend the influence of classical music on his work.

This album contains no booklet.