#daniel mille

Trintignant, Mille, piazzolla 🎶 Adios Nonino/ Arrose les fleurs/ On leur dira

Hommage à l'acteur Jean-Louis Trintignant 🌹🖤🎈 qu'il repose en paix 🕊

Extrait du film 🎬 de Roger Vadim "Et Dieu... créa la femme" avec Brigitte Bardot, Curd Jürgens et Jean-louis Trintignant

Both are in triple time, though time is relative. Sarabandes (of the stately 17th century European variety, at any rate) tend to sound like waltzes on heavy tranquilizers.  

The sarabande is one of the movements which typically make up the Baroque suite. Some of my earliest childhood memories are of radio announcers solemnly reading the list of those segments. I didn't understand any of it, but like the composers' names - Bach, Couperin, Marais, Telemann, Jean Philippe Rameau - it all sounded like part of the music itself,  unfathomably beautiful and rich in deep, mysterious promise: Ouverture, Rondeau, Gigue, Chaconne, Gaillarde, Sarabande...

Meanwhile, the waltz made its first sustained appearances in the 1790s, and began to come into its own a generation or so later. While the sarabande firmly belongs in the courts and palaces of the small, entrenched Baroque elites, the waltz is integrated into the cultural matrix of the 19th century's rapidly expanding European middle class. As part of the soundtrack of change, it becomes the most popular social dance.

So - different tunes for different eras. Yet as I say, formal similarities exist. And today? If you're a modern musician who happens to like both formats but just  can't quite decide which expresses your mood better at any given moment - the sarabande's gravitas, or the erotically charged dynamics of the waltz?

No problem, thought French jazz guitarist Jean-Christophe Maillard - I'll simply combine the two, call the result Saravalse, and stick it on Daniel Mille's album Le Funerable (1999, Saravah ‎– SHL 2096). And here it is, played by:

Daniel Mille: accordion, piano Jean-Christophe Maillard: guitar Minimo Garay: percussion Daniel Goyone: piano

... and more in this piece for accordion solo - an instrument I'm not particularly fond of, to put it mildly.

Yet here it seems just right, and Frenchman Daniel Mille gives this sad little waltz so much atmosphere and feeling that you can just imagine yourself looking out over the Paris rooftops on an evening in late summer, thinking of the loved one who's left you and won't return, and in this gloom you are half hating, half opening up to, a luxurious sense of sadness and abandonment...

Here, then, is Daniel Mille with La valse des adieux, from his 2005 album Après la pluie (Universal Music Jazz France ‎– 983 321-1)

Le poète Patrick Bouillanne lira ses textes en compagnie du grand accordéoniste Daniel Mille, à Cobonne dans le département de la Drôme

Mon cousin éloigné, le poète et musicien Patrick Bouillanne, lira ses plus beaux textes sur la scène de la Mairie de Cobonne lors de l’événement culturel et littéraire intitulé « Les nuits de la patte d’ours », mardi le 10 août à 20 heures dans le département de la Drôme en région Auvergne-Rhône-Alpes, en France. Il sera accompagné du grand accordéoniste Daniel Mille qui a été invité plusieurs…