Bratsch

Musicians son of the wind

Good and honest good people, hide your chickens, hide your kids, just Bratsch.
Wind men are back after following many sunken roads to the heart of Europe.
Gypsy migration westward from India perhaps the year 1000 through messy,
wandering wandering through Romania, Hungary, Slovakia, seeded vivid memory of
me- and fragrant our chilly country until No. s ports.
The wolves entered Paris, ... and if the jackals were out?
This path of spices countdown is told by the music of travelers, homeless under the
feet, but with the air holes in the head.
And then the supreme house legends and secrets of universal foreign land crossings
is on their backs.
Wanderings with insider trading, this rebellious music, insurgent, always flush along
the wild hedges, quarantine camps cities.
You had some may rempailler the heart of the world was going to pieces under too
much as- Phold, highways unmarked sounds without root other than the loan-to-think the
universal Kleenex World Music.
Five employees guys are brave it there are more than fifteen years. This is the group
Bratsch (alto in German, time shifted Gypsy).
Meet with a feverish musician and haunted East, Dan Gharibian, a curious violinist
Bruno Girard, an accordionist Franois Castiello, a clarinetist and a Nano Peylet
contrebas- persists, Pierre Jacquet, actually five real-fake gypsy licensed but anyway
stray genuine.
Each musician is a virtuoso. By dint of working together, they can freely improvise,
play now and recreate an imaginary folklore truer than true, joining the trajectory of
Bartok.
Hay notarial authenticity entomologists folklorists, everything is revisited, borrowed,
made a hundredfold by the joy of traveling both in his head and that of others.
They took to grips with all these wanderings of Jewish music, gypsy, Armenian, and
many others including the territory elsewhere: the Jazzland.
Stirring languages: Armenian, Yiddish, Greek, Russian, Gypsy their well Western culture,
they let it all simmer for years for us to serve the full aromas.
"A force play music from all these traditional directories, we began to invent themes
recreate images, a phantasmagoria from a blend of culture that is now disappearing in
Central Europe due to extreme nationalism" (Bruno Girard)
Goulash against mental gulag! Whether you believe what happened? This is the stupidity
that died at the bottom of all the valleys and this music all blends slap insolent, Humorous,
mixing gay and sad, salty and sweet; freer than all the steeples of villages that have never
been able to understand the vanes open hand.
Mixture and contrast of all the marginalized, gypsy klezmer (Jewish musician), it is a
beautiful burst of musical laughter that ricocheted hits us.
By special order of the prefect, Bratsch be allowed to camp with us, passing in our
hearts.
No need to check the gusset our watches, it's time to be stolen.
Come play your nostalgia to the trailer on a journey jolting, tasty especially without
borders with campfires, all short fire, let the fire to the road.
Transport jointly insured in our Travel mythologies with plaid fun to keep warm. And if one
night, the traveler ....
Gil Pressnitzer
1997-2000
"The Bratsch are the best band that mixes jazz, South-East Europe and Roma music. "(Concerto)

"A fascinating exchange between East and West. Mention 'very good' for music and sound
quality. "(Scala)
"Wonderful improvisers" (FAZ)
"A melting pot of music of Central Europe, and which one! : The pot is hot! Excellent
material. "(FRoots)
"The Bratsch, awesome, practice the musical enlargement of the European Union for the past twenty
years! "(Rolling Stone)
"In this music performed with a festive intensity, there is hardly anything impossible. "(FAZ)
"Played masterfully with incredible verve. "(World of Music)
"These vagabonds carry in their nerd nostalgia of Eastern Europe, the color of the Mediterranean,
the dexterity of Gypsies and Jewish irony.
Music without borders. The World)
"A wonderful journey from west to east with a band of indomitable nomads who mock all
borders.Gypsy melodies, Russian, Armenian, Jewish or own songs, the audience stands up and
always wants more. "(The Express)

Bratsch, cheerful Parisian quintet has long since explored all the intricacies of music of
Central and Eastern Europe. Long before the current craze, in any case, since the group
will soon celebrate its 25 years of existence. The five bad boys swing resume gypsy airs,
Russian, Bulgarian or Yiddish with impeccable expertise and gentle irony. For Bratsch
does not claim, much less a traditional folk label, but a futuristic status of old music
reinventor. Lately, especially in their later albums they expanded their musical horizons by
foraging in the smoky rebetiko of Athens. In the nostalgic round of Armenia or some folk
Limousin. Without losing their sparkling style.
SG

classica
Bratsch, or how nomadic music evolve the confines of extremely varied musical styles ...
For their Parisian suburbs, the band members turned to a European identity, driven by the
only imperative to find a clean musical aesthetic, that of a Gypsy melting pot. Bratsch
members to define their themes, talk of "pre-traditional music." "We base the music that
will be considered tomorrow by musicologists as a form of traditional music," they
explain.It then attempts to detail the ingredients of the still pot, always bubbling, Bratsch:
klezmer music, Roma, Europe influences from the east, jazz and a touch of folk. Because
there is really a collage art in these Gypsies who are unaware, and no doubt in these
instinctive musicians that elevate the game of musical agglomeration to a work of
art. There is also a human adventure, who knows Register taking his time (twelve albums,
but twenty-five years of existence) and especially shaping the music on stage. A
composition of Bratsch do not like and another composition of Bratsch ... This group of
variable geometry, which is also known from in various adventures with each of its
members, practices a "gypsy jazz" that renews interest in music East. Acoustic music
inspired by traditional rediscovered grace and purpose.
Herv Guilleminot.

Which goes so well is the ability to wake the European genius hidden in the multiplicity of
its rhythms, which chaloupent like a musical road movie through a very carnal continent.

Excellent musicians, inventive, virtuoso, Bratsch are played geographic boundaries as

much as though the gypsy musical repertoire and the Balkans form the backbone of their
singing tour.
Bratsch return to Olympic form, to play borders, good musicians of the trip, Bohemians,
Gypsies, Travellers, etc. Bratsch has always been like Travel Notes, the first album
released in 1988, of melancholy, joy, appetite to live.
Vronique Mortaigne
Goulash and ouzo
For a few chandeliers that Bratsch explores Gypsy Europe, the Orient of the Greeks,
Slavic plain, the Bastille, the memory of the "shtetl" Yiddish. Eyes still turned towards the
east, where galloping horses, walking lost people, barricaded ghettos, five French have for
once dressed in old cloth, venerable rough soles and smiles. Guitar, accordion, violin,
clarinet, double bass: all music of the people who have lost the great game of history can
then be heard. In their show cross borders and overlapping nationalities. We are not
Bulgarian to whether their compositions have our taste Bulgarian accent, Greek or
whether they are true to the tradition. They water their ouzo goulash, alternate "gafilte fish"
and borscht: For local color, it is rather the rainbow for the truth is ethnomusicology will
trust guarantees specialists. For the picturesque, they speak a sort of pidgin Romania or
the Levant - no home, anyway. But when they work gypsy jazz along the Seine, the violin
to Grappelli and Reinhardt guitar in a funny color, as if the wind travels gave them his
stamp peat and old grass. And when they sing Johnny you're not an angel of Francis
Lemarque they find the exact balance between Enrico Macias and Ute Lamper, between
despair and hopelessness of love for centuries. With Bratsch, here in East homegrown:
distant, misty, dreamed.
Bertrand Dicale

Tlrama
Music of travelers that are run in five virtuoso musicians. Emotion and fever intertwine over
the glowing harmonies of the group, which celebrated there is little the warnings 25
years. The festivities will announce encouraging.

Long before it was noticed thanks to the thawing of the Eastern Bloc (around 1989), which
turned a Western interest in Eastern European music, Bratsch already doomed his
iconoclastic inspiration for jokes gypsy rhythms . Founded in 1975, Bratsch cast his music
SDF (see his remarkable album "Homeless Fixed" (Niglo / Sony) published in 1990) in an
enchanting nomadic spirit that ignored skimpy opinion purists folklore, cooking his musical
dishes flavors drawn on banks of the Nile, the Danube or the Mississippi.
BOUZIANE DAOUDI
Bratsch, the cooperative swing
"Set sail as a bird of passage, twenty-five years to tread the asphalt of the trip, it s'fte." In
short, everything is said, an agreement of gypsy swing, so Django. Gathered in a bright
and spacious cellar, Bratsch repeat a new composition. Rather studious atmosphere,
away from the warm effervescence concerts. Be prepared for wild cabaret where the
famous group's twenty-fifth birthday. And prepare a show, dancing the public is not a
matter of feeling, generosity or virtuosity. It is also the job. "As gypsies, we operate under
the pleasure principle, leaving bnous locked by partitions, which allows us to give different
concerts every time." Bratsch, the live band par excellence. His first CD was released in
1988, thirteen years after the formation of the quintet in Parisian cabarets. Follow a dozen
albums with evocative titles: Homeless Fixed, Transport, nothing in the pockets ...
nomadic musicians Bratsch draw their inspiration on the road. Attend one of their concerts
is Tziganie travel on the shores of the Mediterranean, in Slavic flat and Yiddish
memory.Bratsch already have 90 concerts to counter this year (deep in the former East
Germany, Finland, Poland, Morocco USA even ...). But times are tough. Especially for a
"self-directed" group like them. "We operate as a cooperative. The money from our
records is placed in a common fund and reused to fund our tours." Problem with piracy,
Bratsch see their album sales erode. So they imagine a parade. Each concert at the
Cabaret Sauvage will be recorded on a CD sold at the end of each show. If the trend to
erosion is confirmed, it is the freedom of the group to play wherever he would be
questioned. Like last year, at the request of a gadjos Association (foreigners, Gypsy) of
Pontoise forest. Initially, Bratsch were greeted with suspicion. "A close they are to pick up
their instruments." Bratsch gives the lie to all the grumpy convinced that it is mandatory to
have gypsy blood to play gypsy music. Today of Romanian and Bulgarian groups repeat
the songs of Bratsch. And the quintet appears authentic sides of Balkan brass bands on
"traditional" music compilations from Eastern Europe. Consecration whose shot proud
group without taking too seriously."Sometimes you really take us for Gypsies" are they
fun. And each deliver a personal anecdote about these misunderstandings. As the history
of this reporter came to interview the group flanked by a Serbo-Croatian interpreter ...
Eric Mandell

Size souls of Gypsy Last night at the Splendid, the breath of Bratsch has sentimental
damage is concerts that move us more than others. As if, months later, still trotted in our
heads some tunes from a bygone evening. Yesterday, 500 people who settled on the
seats of the hushed room Splendid, many will remember the provision of Bratsch. For over
20 years this training swarming the halls, she always manages to seduce his
audience.Mixed feelings The decor could be that of a minimalist film: a table, a few bottles,
chairs.Nothing more. And yet ... Stand with the haughty look, the quintet is presented to
the public under false gravity air. But soon, the true nature of these musicians on the run
emerged volcanic way. Violin, double bass, clarinet, guitar and accordion kick into gear
together, forming a nice bonfire. The agreements are enriched as musical influences
overlap. It's all come around Central Europe. After greedily satisfied Bulgarian sounds,
Romanian, Greek and Yiddish, the Bratsch music fills our eardrums with its cultural
diversity. Suddenly, the pace slows down, making a screeching halt our intra-venous
pulsations. Red lights, stashed in their inverted saucers, sift the atmosphere. The violin
begins to cry while the accordion trying to catch his breath. These same notes, five
minutes earlier gave dizzy, we strongly shake throat. This is where the strength of Gypsy
music.
J. Lx

Bratsch stage, poetic music from the Balkans and elsewhere. For his slave Cabaret
evening, the festival had summoned Poster dream. With in the first part, the Grlt group
and Petko Stefanov. Monitoring Bratsch, who offered a moment of Gypsy with a
conquered room. Slavic evening, away from Celtic sounds. The bet might seem risky open
Interceltique Festival. But it was won hands down. At 23 h 30, Bratsch occupies the
ground. "To be or not to be. Forget it sings because the devils can not sing." When
launching the gypsy proverb came to the crowd applauding, it seems that the group
reveals the secret of his music. So, to scare away demons, the five musicians sing their
deep voice, airs from the Balkans and elsewhere, which make nostalgic country we do not
know yet. In the room, the audience listening religiously as you listen to the masses in
Harlem; clapping or dancing in the aisles. The influence of gypsy tunes succeed, and
musicians Bratsch (name of the Hungarian People's viola) compete virtuosity. Each turn in
an order that seems improvised steps into the scene, removed for solos. Clarinet hand in
the air, viola seems to be caught by the dance of Saint Gui, as the victim of a spell. The
approximately 1,000 spectators wanting more. Once, then two, standing to cheer virtuoso
musicians. Until 1 am, Bratsch hangs cabaret filled to overflowing. Celtic land or not,
Slavic music was finally adopted.
Jean Gouyau
(Qubec) Bratsch, for the pleasure of being together.
W ith a name like his, Bruno Girard easily pass for a Quebecer. However, like other
members of the group, was born in France. The mystery lies elsewhere, probably on the
border of several musical universes. "We each have different personalities, says violinist
and co-founder of the group. It is our little treasure everyone of us. Dan Gharibian, singer
and guitarist, is originally Arme- nian. It brings all the eastern side and knows Russian
gypsy music. Franois Castiello (accordion and vocals), the Italian and Mediterranean
side. Nano Peylet, clarinetist, made klezmer music and worked with Jewish orchestras.
Pierre Jacquet, bassist, attended jazz clubs for years. For me it's Romanian music, half
slave, half-Oriental. I like this mix. " Bratsch. The word resembles the sound of horse
snorts after the race. In fact, the guys give the impression of being on the run. Explorers,
they were such. "There is much traveling. We do not pass some time together, all five,
Girard nods. Bratsch allowed us to meet a traveling project that had all in the head before
they met. For all these years A friendship is created, which has become as important as
the notes to make music. " The last part of the tape in Quebec City in 1997. What Bratsch
since then? "We are moving more and more to compositions inspired by traditional
equipment. Our music is more composed, leaving a large part to
improvisation."Ethnologists, members of Bratsch are become somewhat by the nature of
things. But their approach is the opposite of the collection and conservation. "Let's say we
start to have a perception of how music is done right and left. But our purpose is to see
how it continues to evolve and adapt to our sensitivity," said Bruno Girard . The funny
thing about this story is that Bratsch that plying his trade for nearly 25 years, continues to
influence the Gypsies themselves.
Richard Boisvert

Tribune de Genve Sauteries Manouche gypsies and

mixing
That is probably what is called a transversal group, able to swap the boards of Victoria
Hall (in 2001) against those of the plant (tonight) and packed with the same strings
sauteries Balkan lovers, enthusiasts of gypsy swing, and a few swarms of young
punks.Met in Paris in the mid-70s, Bratsch now includes an Armenian guitarist Django
Reinhardt fan, a violinist broth out free jazz culture, a bargain hunter and tsiganophile
bassist, accordionist smartened in dance halls and a former clarinetist Classical fell into
the arms of klezmer folklore. The frantic melancholy gypsy caravans and tonic languid jazz
20s mingle on stage in some unexpected spices. It may be noted among them an
enthusiastic revival of the old Arab-Neapolitan tube Caravan Petrol Renato Carosone. NU

It is now over a quarter of a century they travel the roads of the world with their nomadic
music. Bratsch have to step Champagne Nights they have informed their colorful
music.From the first chords, the audience responded to the invitation to travel and
punctuating their applause notes five virtuosos. Bratsch offered the public won a ride
through their repertoire, combining traditional music of Central Europe, Jewish festive
variations, jazz improvisations and other compositions inspired their countless
tours. Stirring alternately language, Romany, Yiddish, Italian, Armenian and French ... their
imaginary folklore has attracted and moved. Sometimes nostalgic, sometimes wild,
humorous too, the quintet has portrayed a variety of landscapes "Tziganie" the shores of
the Mediterranean, Slavic plains to unknown lands ... warm voice, shimmering
instruments, the audience shuddered fun listening to their music, their "soul" to them,
Bratsch mind that inimitable way of mixing cultures and improv, precision and
lightness. These buffoons who go through back roads and out of the box gave a dreamy
music and told the improbable smooth regions. As a magical interlude where everyone
could escape the time of a concert, and leave the body and soul vibrating pleasant
sensations. Bratsch also brought, as each performance, the lie that ux who still believe that
we must necessarily have the blood of travelers to carry on a public road they have
chosen.
BRATSCH Travel
Five French musicians play for fifteen years the traditional music of Eastern Europe: a
path between fantasy Slavic cultures and Greece, between Armenia and Limousin, who
convinces both the public and musicologists. "We are not real traditional musicians, says
Franois Castiello. In France, we do not have a rich musical tradition, while in the
Romanian music, Yugoslav, Bulgarian, there are extraordinary things to discover at the
expression and the game. We, we face these much like music could be white European
musicians to jazz in the 50s "
The analogy is apt: as European musicians were able to appropriate the jazz and become
partners, partners or even sometimes American jazzmen competitors Bratsch conquered
the music of Eastern Europe, to be included in the compilations and traditional music
collections.
"People do not really know where we catalog. We are not in the world music, we do not do
traditional music since no draws from our own traditions, we are not purists who keep a
treasure. We like to mix things up, we create our music compared to everyone's
imagination of us. "
There are fifteen years that these five French musicians working together: Dan Gharibian
guitar, Franois Castiello on accordion, Pierre Jacquet bass, Bruno Girard on violin and
clarinet Nano Peylet. The group took the name of the popular viola Hungary, the bratsch
and at first there was Russia and the music of the Gypsies of Eastern Europe. Small
rooms, first successes. Bratsch rely heavily on the growing popularity of this music in
France and elsewhere in Europe.
But while today flourish more or less Gypsy groups (blacks Eyes, Urs Karpatz ...) Bratsch
emigrated. "For five or six years, we have abandoned the Slavic music," admits Franois
Castiello. In his new show, installed for the entire month of March in a new hall in Paris, La
Maroquinerie (where he recorded in a few days, in public, his next album) Bratsch trip to
the Balkans, Armenia, Greece and even France. The east are Romania, Yugoslavia and
Bulgaria where musicians draw full arm old melodies and inspired new songs. Armenia is
the birthplace of the mother of Dan Gharibian, himself born Italian father in the suburbs of
Lyon but passionate these roots there. Greece is what rebetiko basements and backrooms
where turbulent, off the day, Greek music, Turkish, Albanian or Jewish were married to
form a kind of rebellious and dreamy blues. France, it is primarily the Limousin Nano
Peylet, where the language spoken by the old past is now almost completely lost, and also
sings Bratsch. And it's the French language, which poses unique questions to the group,
used to sing in a variety of European languages. "We use language as a tool. We know
what the song means, but not necessarily the meaning of each word. Now when I sing a
song in French I have the same attitude. I know the meaning of the song, but mostly I try
to find him a room without taking care of each of the words "
Recent lyricists Bratsch included Simon Abkarian, amazing actor he revealed a few years
ago at the Theatre du Soleil Ariane Mnouchkine. "This is a group of friend. One often sees
and sings, drinks and dancing with us, "The actor also directed Bratsch in a black and
white world that matches the uniqueness of the leather goods. Deep cellar conducive to
conspiracies and whispers. Secret meetings of the group and toasts in a vague language
plotters mines Bratsch is also a journey in gestures, atmospheres, dream. Their music and
performance sailing in the myth: the myth of the distant village, the myth of the migration,
the myth of "tsiganie". "We are dreamers, says French Castiello. We fantasize a lot of
music. People out there do not play like that. I recently played with a band of Macedonia:
they play rehearsals, before rehearsals, after rehearsals, they will play in the street on
waking, he still play after the concert. They do not just play to people sitting in front of the
stage. "
Bertrand Dicale

2001-2004
Classica - December
Worldwide - November 21, 2003
Dauphin - July 22, 2003
Keyboards - January 2003
The Sun - November 12, 2002
Northern Voice - August 16, 2002
Release - August 5, 2002
 Chorus - January-February-March 2002
Tribune of Geneva - January 17, 2002
DNA - December 28, 2001
Directory - December 2001
Northern Voice - November 17, 2001
Worldwide - November 10, 2001
d
d

classica December 2003

CD "Nomads in Flight" (note 5/5)

Bratsch, or how nomadic music evolve the confines of extremely varied musical styles ... For
their Parisian suburbs, the band members turned to a European identity, driven by the only
imperative to find a clean musical aesthetic, that of a Gypsy melting pot. This double CD shaped
birthday panorama offers us and musical postcards from Romania, Greece, Russia, Armenia and
Macedonia. Bratsch members to define their themes, talk of "pre-traditional music." "We base the
music that will be considered tomorrow by musicologists as a form of traditional music," they explain. It
then attempts to detail the ingredients of the still pot, always bubbling, Bratsch: klezmer music, Roma,
Europe influences from the east, jazz and a touch of folk. Because there is really a collage art in these
Gypsies who are unaware, and no doubt in these instinctive musicians that elevate the game of musical
agglomeration to a work of art. There is also a human adventure, who knows Register taking his time
(twelve albums, but twenty-five years of existence) and especially shaping the music on stage. A
composition of Bratsch do not like and another composition of Bratsch ... This group of variable
geometry, which is also known from in various adventures with each of its members, practices a "gypsy
jazz" that renews interest in music East. Acoustic music inspired by traditional rediscovered grace and
purpose.
Herv Guilleminot.
 November 21, 2003
Bratsch celebrates 25 years of songs travelers
The group, inspired by the gypsy repertoire, giving a series of concerts in France
Founded there are twenty-five years by Bruno Girard (violin, vocals) and Dan Gharibian (guitar,
bouzouki, vocals), joined later by Pierre Jacquet (bass), Franois Castiello (accordion, vocals) and
Nano Peylet (clarinet, vocals), Bratsch belongs to the French group family very inspired by Gypsy
directory and Balkan music. A family of Translave to Slonovski Bal has continued to grow in
recent years. In this vast field of inspiration, Bratsch pioneered. A few weeks after the release of
an anthology (2 CD Nomads in flight, Network / Harmonia Mundi), the quintet party at the
Trianon in Paris, his quarter century. Backstage after the show, we festoiera merrily around a
buffet with friends and acquaintances. For this anniversary concert, Bratsch wanted to keep it
simple. No guests. The group reserves this small pleasure for sharing later. Between 14 and 18
January 2004, in some provincial towns, with a show called "passing people", he will receive,
among others, the Hungarian singer Mitsou, the band Slonovski Bal and Denis Cuniot
pianist. Side stage, simplicity is also in order. Two tables covered with a tablecloth, two lamps
and a hanging green frieze. The program scans the directory set by the group over 12 albums
recorded since the beginning of his adventure. Original compositions, arrangements from
traditional music, such asSirba Ivoire piece inspired by a Romanian dance style, or Hanane , traditional
Armenian ballad with delicate emotion Dan Gharibian. Excellent musicians, inventive, virtuoso, the five
boys are perhaps sometimes a bit too austere when the music becomes fiery, invites to joy, to runaway
party. If the Gypsy repertoire and the Balkans form the backbone of their turn singing, Bratsch are played
geographic boundaries musicales.Comme much as it already does for some time on record, the group
shows the public's appetite for digressions out of their favorite repertoire, with branches into French
( Now isinterpreted by Franois Castiello, La Chope des Puces and nod to Django) or Italian,
with Maruzella , a Neapolitan serenade which ends in a lively tarantella. The first album in 1976 called
Music everywhere (sold out). The others appoint Travel Notes (1989) Homeless (1990), public transport
(1991) Matches (1994) ... Bratsch like taking the tangent and to travel. "We are birds of passage,
tomorrow we will be far away," sing in chorus the late evening musicians.
Patrick Labesse
The Polymusicales Bollne - July 22, 2003

Magic Bratsch
Fantastic musicians Bratsch group enthralled the audience room and held in suspense until the end. At
the end, everyone gasping for more, but the musicians could not provide endless reminders. It was
necessary to end. The originality of Bratsch is a mixture of musical cultures characteristic of Central
Europe, gypsies and other traditions, they gather in their original compositions and covers of their songs
they arrange wonderfully preserving the emotional content original Balkan music. Their repertoire is
inspired by all these traditions musicians or singers who have crossed Europe by claiming their freedom
and gleaning here and there, some influences likely to resurface one day in their music. The incredible
course this impressive encounter between Bratsch and the public of the Town Hall Square, one of Polys,
during this wonderful gypsy evening. A huge crowd of ecstatic fans chanting choruses, clapping or
tapping their feet, and dozens of others huddled in front of the stage, dancing pleasure. Such an event
had not seen in ages here.
Gypsy Music Yiddish or buttressed with jazz, both these traditions of improvisation sometimes find, set
fire to a particularly colorful passion and often spicy. Bratsch the magic worked with great intelligence
and talent of five gifted and artistically inspired musicians. What happiness ...
HP

January 2003

BRATSCH AND GUESTS: EMOTION IN ITS ROOF

There coincidences like this, meetings that give rise to magical moments of life. With Bratsch, talent
exceeds our expectations and imagination. 23h00: the show begins. Bratsch, Mitsou, Denis Cuniot, the
Paper Group of Armenia and Slonovski Bal will carry us tirelessly in the gypsy world for not less than two
hours, while making us attend to the provision of twenty musicians taking turns over
representation.Midnight emotion is at its peak. The mood is touching and dotted with great lyrical and
melodic flights.This group is ideal to discover the gypsy music, something to be penetrated by a unique
sensibility combining emotion, festive atmosphere and nostalgic atmosphere. The tempos are crescendo
and the audience is drunk! Through Bratsch is a culture that is highlighted and it can be told: it is to
live. That human talent, so much so that a lucid moment could lead us to say, "But what are the
machines?".Marriage is eastern, western, Russian ... The Gypsies come from all over the world and hold a
rich culture so strong ... A thousand adjectives are not enough to describe this joy, that sweetness, that
harmony. The intervention of the singer Mitsou bring the climax of the show! ... "We are twenty to play
along, we show nothing, we play, transmit, communicate" ... It is simply magical.
Pascal Henninot
Qubec, November 12, 2002
Bratsch, for the pleasure of being together.
With a name like his, Bruno Girard easily pass for a Quebecer. However, like other members of
the group, was born in France. The mystery lies elsewhere, probably on the border of several
musical universe. "We each have different personalities, says violinist and co-founder of the group. We
each had our little treasures to us. Dan Gharibian, singer and guitarist, Arme- nian is original. It brings all
the eastern side and knows the Russian gypsy music. Franois Castiello (accordion and vocals), the Italian
and Mediterranean side. Nano Peylet, clarinetist, made klezmer music and worked with Jewish
orchestras. Pierre Jacquet, bassist, attended jazz clubs for years. For me it's Romanian music, half slave,
half-Oriental. I like this mix. "
Bratsch. The word resembles the sound of horse snorts after the race. In fact, the guys give the
impression of being on the run. Explorers, they were capable of. "It is much traveling. We spend a
lot of time together, all five, Girard nods. Bratsch has allowed us to meet a traveling project that was all
in the head before they met. For all these years, a friendship is created, which has become as important
as the notes to make music. " The last part of the tape in Quebec City in 1997. What Bratsch since
then? "We are moving more and more to compositions inspired by traditional equipment. Our music is
more composed, leaving a large part to improvisation." Ethnologists, members of Bratsch are become
somewhat by the nature of things. But their approach is the opposite of the collection and
conservation."Let's say we start to have a perception of how music is done right and left. But our
purpose is to see how it continues to evolve and adapt to our sensitivity," said Bruno Girard . The funny
thing about this story is that Bratsch that plying his trade for nearly 25 years, continues to influence the
Gypsies themselves.
Richard Boisvert

August 16, 2002

Such as Birds of Passage
The music sets the scene: a winter evening somewhere in Central Europe.
An icy wind blowing outside. Snow, surely erased the roads. One by one, slowly, five bohemian
companions come in a rustic room. Two tables, five chairs, a few bottles, a droll light. Bruno violin Peter
on bass, Dan on guitar, Franois accordion, clarinet Nano will remake the world. The life, death and all ...
All five are close, shake to the public, are presented. Their instruments gushes an explosion of
notes. Rise of nostalgia borrowing songs.
The music of Bratsch is indefinable. It disoriented the proper sense of the term. Where
are we?Yiddish accents to succeed Romanian tunes, Greek, Russian, Armenian, Bulgarian and even
Neapolitan ... It is a music without borders, a melting pot where diverse influences are based.
From tears of exile in bursts of joy of love, the viewer overwhelmed feelings, is undermined. But
wanting more. Tzigane, when you hold us ...
Suddenly, the music stops. The musicians are waving goodbye. The viewer remains pentelant
and remember, remember these birds of passage already so close and so far away, who took
him on a journey beyond time and space.
AG
August 5, 2002
Bratsch the Green Festival Paris Neighborhoods Summer
Bratsch, cheerful Parisian quintet has long since explored all the intricacies of music of Central
and Eastern Europe. Long before the current craze, in any case, since the group will soon celebrate
its 25 years of existence. The five bad boys swing resume gypsy airs, Russian, Bulgarian or Yiddish with
impeccable expertise and gentle irony. For Bratsch does not claim, much less a traditional folk label, but
a futuristic status of old music reinventor. Lately, especially in their latest album "The Life, Death, all that
.." they expanded their musical horizons by foraging in the rebetiko smoky Athens. In the nostalgic round
of Armenia or some folk Limousin. Without losing their sparkling style.
SG

Janvier-February-March 2002
Bratsch
On stage, they receive us at home, table and bottle set. Over the years, these five musicians
friends impregnated central Europe, have simmered imaginary folklore more staff, in the image
of their new album: The Life, Death, all that ... .. MUSIC, IMAGINATION, ALL THAT ... When
he meets Dan Gharibian), there are more than thirty years, Bruno Girard finished his studies in
biology, spending his days in labs and nights playing music ... "I says -t it, I was a bit of
everything (jazz, traditional ...) and I accompanied the singers. Dan scratched his guitar and had
more rock, but he had all this culture Django Reinhardt and, by its Armenian family, oriental
influences and a taste for Greek music ".After the meeting bassist Pierre Jacquet, the core group is
made but none of the three acolytes still think become a professional musician, "All we had our
job at hand, tells Bruno and above all we would meet for fun, we played in pubs. First it was
called Brachitos, because we made a lot of South American music, and was transformed into
Bratsch: German, the viola, the instrument used to make the mishaps in orchestras in Central
Europe. " Taking advantage of the folk craze that reigns in these 70s Bratsch (officially born in
1975) has participated in many festivals: "We started work on oriental and gypsy songs, and Dan
knew at the time, it does were not many bands in this style. " Over the next ten years, they will
gradually become more professional and save three 30 cm. Published in 1976 and 1980
respectively, the first two are produced by two record labels (Discovale Nantes and Chant du
Monde), the third being caught in public in 1981 at the Thtre de la Potinire under their own
fledgling label: Niglo . A fourth accomplice introduced to the accordion, Norbert Aboudarham,
which will be replaced by Franois Castiello around 1986, at which time also happens clarinetist
Nano Peylet. Both the others were already in formal association in various jazz bands, Arcane
Paris V-Combo fifteen musicians, mounted in 1980 by Joseph Racaille.
 January 17, 2002
Sauteries Manouche gypsies and mixing
That is probably what is called a transversal group, able to swap the boards of Victoria Hall (in
2001) against those of the plant (tonight) and packed with the same strings sauteries Balkan
lovers, enthusiasts of gypsy swing, and a few swarms of young punks. Met in Paris in the mid-70s,
Bratsch now includes an Armenian guitarist Django Reinhardt fan, a violinist broth out free jazz culture, a
bargain hunter and tsiganophile bassist, accordionist smartened in dance halls and a former clarinetist
Classical fell into the arms of klezmer folklore. The frantic melancholy gypsy caravans and tonic languid
jazz 20s mingle on stage in some unexpected spices. It may be noted among them an enthusiastic revival
of the old Arab-Neapolitan tube Caravan Petrol Renato Carosone.
NU

December 28, 2001

Bratsch uncompromising
Dcal a fortnight concert Bratsch has not suffered this setback: the other night, the room was full
of the Dairy. No part one, no succession to follow ... Bratsch will take the stage for a good two
hours. The public, all ages, across all horizons, ahead of saliva.
Dan on guitar, double bass Pierre Franois accordion, violin and Bruno Nano clarinet are grouped
under one bar covered with ivy and multicolored bulbs supporting two lamps. On a table dressed
in a pretty slick throne a champagne bucket which exceeds a dcalotte bottle, musicians all have
their chair ... Last space both minimalist and studied, which invites to listen to the story of this
musical journey. The inspiration of Bratsch, since inception in 1975 is located in central Europe,
especially on the side of gypsy music. The quintet, also strongly influenced by free jazz and jazz,
has built over the years a style he calls "pre-traditional" - inspiration, personal translation and
adaptation of "traditional". The last album Bratsch "life, death, all that ..." evokes exile, travel,
love and celebration. On stage, the benefit is a far cry from the cheerful gypsy frenzy that perhaps
we expected to find. Some lyrical flights polyphonic aside, music are the five musicians is
demanding, virtuoso, almost barren, without becoming grim. The concert will discreetly
crescendo until a force intensity and understanding between the musicians and the audience, who
after a warm reminder, smiling and bluffed out.
Jenny Ulrich
December 2001
The event of the month
Do not ask me how long I appreciate ... Life, death, all that ... exactly. All I know is that I bought
their first 33rpm disc. Here not really an upgrade! But if precisely: just listen. They have not aged
a day ... and neither do we, suddenly. Thank you, Bratsch. There comes the urge to write you a
letter-shaped chronic, chronic-shaped letter this week where I get a new decade and where I feel I
always hear you never get bored . The phenomenon is rare enough that stresses. Many artists have
lost their fans to win others over their evolution and sometimes their regressions or
concessions.You've won a lot of new, I think; you will have not lost much, I'm sure. Yet you have
evolved. In the quality first. This mastery of the game and song, this knowledge of Gypsy
directories, gypsy, klezmer, swingo-musette, the ability to cope in a world that has far exceeded
these categories to become your universe, ie a clever catch- any European, rooted-rooted music, a
musical vagabond luggage, a backpack undocumented. You picked up snippets of oral traditions,
you have decorated them with your ideas, your words, your humor, your musical flights. You
continued the creative process essential for traditions are traditions and do not become lifes put
on display in a museum or archive in a media library hall. You woke mixing Gypsy and gadzo,
goy and Jew wandering in all of us. You asked the obvious music on a heap of doubts. With a
guitar, accordion, clarinet, violin and bass, you have traveled the world, staying outside the
modes but being precursors of those raging today. No gossip without unnecessary demonstrations
without junk virtuosity, with some humility and right mix between poetry and humor, you have
made the connection between French chanson, Armenian song, gypsy jazz, music of Central
Europe, expressions without borders ... You sing standing without concessions, we want to hear
... Thanks, Bratsch.
Etienne Bours

November 17, 2001

Size of Gypsy souls

Last night at the Splendid, the breath of Bratsch has sentimental damage
is concerts that move us more than others. As if, months later, still trotted in our heads some tunes
from a bygone evening. Yesterday, 500 people who settled on the seats of the hushed room
Splendid, many will remember the provision of Bratsch.
For over 20 years this training swarming the halls, she always manages to seduce his audience.
Mixed feelings
The decor could be that of a minimalist film: a table, a few bottles, chairs. Nothing more. And yet
... Stand with the haughty look, the quintet is presented to the public under false gravity air. But
soon, the true nature of these musicians on the run emerged volcanic way. Violin, double bass,
clarinet, guitar and accordion kick into gear together, forming a nice bonfire. The agreements are
enriched as musical influences overlap. It's all come around Central Europe. After greedily
satisfied Bulgarian sounds, Romanian, Greek and Yiddish, the Bratsch music fills our eardrums
with its cultural diversity. Suddenly, the pace slows down, making a screeching halt our intra-
venous pulsations. Red lights, stashed in their inverted saucers, sift the atmosphere. The violin
begins to cry while the accordion trying to catch his breath. These same notes, five minutes
earlier gave dizzy, we strongly shake throat. This is where the strength of Gypsy music.
J. Lx
 November 10, 2001

Bratsch
Life, death, all that ... Caravan Petrol: one title and life lights up. Bratsch return to Olympic form, to play
borders, good musicians of the trip, Bohemians, Gypsies, Travellers, etc. Life, death, all that ... was
recorded in June in public, at the Theatre Macon, a national stage that supports the popular
song. Caravan Petrol is a Neapolitan song, and it may be surprising that it is the directory of a group
whose music feeds mainly contributions of Central Europe. But this theme (from Carosone and Nisa) is
itself completely delocalized, mentally and geographically: "I want to like Americans, become rich by
finding oil. I rented a camel, I travel the desert with my hookah and my tambourine, people say I'm crazy,
but I sing. " The enslavement bouzouki, milk can, violin, clarinet and accordion to the Italian digression is
delightful. For the rest, as has always been Bratsch Travel Notes, the first album released in 1988, of
melancholy, joy, appetite to live.
Vronique Mortaigne

The
Sunday
paper -
October
10, 2004
Christian witness - October 7, 2004
Ouest France - August 6, 2004

d
Sunday, October 10, 2004
Bratsch, the cooperative swing "Set sail as a bird of passage, twenty-five years to tread
the asphalt of the trip, it s'fte." In short, everything is said, a gypsy swing Agreement, so
Django. Gathered in a bright and spacious cellar, Bratsch repeat a new
composition.Rather studious atmosphere, away from the warm effervescence
concerts. Be prepared for wild cabaret where the famous group's twenty-fifth
birthday. And prepare a show, dancing the public is not a matter of feeling, generosity or
virtuosity. It is also the job. "As gypsies, we operate under the pleasure principle, leaving
bnous locked by partitions, which allows us to give different concerts every time."
Bratsch, the live band par excellence. His first CD was released in 1988, thirteen years
after the formation of the quintet in Parisian cabarets. Follow a dozen albums with
evocative titles: Homeless Fixed, Transport, nothing in the pockets ... nomadic musicians
Bratsch draw their inspiration on the road. Attend one of their concerts is Tziganie travel
on the shores of the Mediterranean, in Slavic flat and Yiddish memory. Bratsch already
have 90 concerts to counter this year (deep in the former East Germany, Finland, Poland,
Morocco USA even ...). But times are tough. Especially for a "self-directed" group like
them. "We operate as a cooperative. The money from our records is placed in a common
fund and reused to fund our tours." Problem with piracy, Bratsch see their album sales
erode. So they imagine a parade. Each concert at the Cabaret Sauvage will be recorded
on a CD sold at the end of each show. If the trend to erosion is confirmed, it is the
freedom of the group to play wherever he would be questioned. Like last year, at the
request of a gadjos Association (foreigners, Gypsy) of Pontoise forest.Initially, Bratsch
were greeted with suspicion. "A close they are to pick up their instruments." Bratsch
gives the lie to all the grumpy convinced that it is mandatory to have gypsy blood to play
gypsy music. Today of Romanian and Bulgarian groups repeat the songs of Bratsch. And
the quintet appears authentic sides of Balkan brass bands on "traditional" music
compilations from Eastern Europe. Consecration whose shot proud group without taking
too seriously. "Sometimes you really take us for Gypsies" are they fun. And each deliver
a personal anecdote about these misunderstandings. As the history of this reporter came
to interview the group flanked by a Serbo-Croatian interpreter ... Eric Mandell

r
October 7, 2004

For 25 years, Bratsch, quintet inspired music from Central Europe, sold out only through
word-of-mouth. And that's not all ... The Famous Five Bratsch We are birds of passage,
tomorrow we will be far away, "resumed in chorus Bratsch in one of their latest songs. It
is true that the group spends more than 150 days per year on tour, giving it almost a
hundred concerts. Since the Famous Five Bratsch has formed, it swallowed miles and
visited countries: Western Europe, Eastern, United States, Canada, Lebanon, Morocco ...
The trip is part of their lives, they are gypsies in the soul as in their music. The day we
met them, they returned to Germany just to leave the next day, the time for a
rehearsal. Scores under the eyes, Bruno Girard (violin, vocals), Dan Gharibian (guitar,
bouzouki, vocals), Pierre Jacquet (bass), Franois Castiello (accordion, vocals) and Nano
Peylet (clarinet, vocals) trying to "stall" a new song to their repertoire, and not just any,
that of their 25 years. A song in French that Nano had the words and Franois
music. After several false starts, the song gradually implemented. "We sometimes have
rants, but after a good discussion and a lot of work, the matter is settled," says Dan. At
first, Bratsch resumed his way the traditional repertoire of Central Europe. With years
and some recorded twelve albums, the band's music has evolved into more jazzys
harmonics. "We are the musical diversion unscrupulous admits smiling Francis. Our
instrumental evolution has allowed us to win a younger audience that appreciates our
compositions swinging. "A group like black eyes or even Sanseverino singer walked in
the footsteps of Bratsch. "The experience allows us to have an edge over them and
differentiate us. For a long time we acquired our audience, "says Bruno. The musical
melting pot has become de rigueur Do not be surprised if Bratsch sing in Russian,
Yiddish, Romanian, Greek, Italian, French and even Limousin dialect. In 1994, the group
signed a contract with Universal, but the adventure was cut short. "The record company
wanted to have a look at our compositions. For them, there were no tubes in our songs,
"is still surprised Nano. Since then, the five musicians are free.They produce themselves
as their debut. Everyone has a role (logistics, records, website, search agents and
concerts) to the stage manager and lighting designer, Jean-Maurice Dutriaux, which
manages the tours and the contact letter. The band never was very popular radio and TV
stations, and only the press gives him some articles. But wherever he goes, in France and
abroad, Bratsch fills the rooms. Peter has his explanation. "It's word-of-mouth that
attracts people. The media are only interested in a big volume sales which represents a
very small part of the artistic production. This is the Assedic system that allows people
like us to live. "The series of birthday concerts at the Cabaret Sauvage will be a party
atmosphere and travel, then the group will leave on tour. After Paris, the road
ahead. Latcho drom! (Bon Voyage, in Rom). Jean-Claude Djian
Lorient Interceltic Festival, August 6, 2004
Bratsch on stage, poetic music from the Balkans and elsewhere.

For his slave Cabaret evening, the festival had summoned Poster dream. With in the
first part, the Grlt group and Petko Stefanov. Monitoring Bratsch, who offered a
moment of Gypsy with a conquered room.
A slave evening, away from Celtic sounds. The bet might seem risky open-LAN. But
it was won hands down. It is first Grlt that appears on stage, to provide original
music, so Charlie Haden touch of traditional Slavic music. For an hour and a half,
sounds intriguing the public and prevail in a dreamlike journey, the Black Sea edge to
the "palace of dreams." At 23 h 30, Bratsch occupies the ground. "To be or not to be.
Forget it sings because the devils can not sing." When launching the gypsy proverb
came to the crowd applauding, it seems that the group reveals the secret of his
music. So, to scare away demons, the five musicians sing their deep voice, airs from
the Balkans and elsewhere, which make nostalgic country we do not know yet. In the
room, the audience listening religiously as you listen to the masses in
Harlem; clapping or dancing in the aisles. The influence of gypsy tunes succeed, and
musicians Bratsch (name of the Hungarian People's viola) compete virtuosity. Each
turn in an order that seems improvised steps into the scene, removed for solos. Clarinet
hand in the air, viola seems to be caught by the dance of Saint Gui, as the victim of a
spell. The approximately 1,000 spectators wanting more. Once, then two, standing to
cheer virtuoso musicians.Until 1 am, Bratsch hangs cabaret filled to
overflowing. Celtic land or not, Slavic music was finally adopted.
Jean Gouyau