New Arts International

- Duo recording by pianist Pascal Auberson and Saxofonist Cesar Decker
- All original compositions by Auberson and Decker

“Ainsi de Suites” (“And So On(s)”)

This project was born from a desire, an idea, but above all from a natural and implacable life force...

"De Père en Fils" (From Father to Son), an initial transitory title, logically became "Ainsi de Suites” (“And So On(s)”), following the progress of the writing, the arranging of tunes resurfacing from the treasures that never fully slumber in Pascal’s song lockers, or ideas and desires for new notes from father and son.

For Pascal, this was starting from a rather questionable and somewhat “confining” premise, since this heart-fluttering adventure departs from unknown territory. Although an incomparable vocalist (he refers to himself as “Aubersong” as a way to avoid ever being reduced to the restrictive descriptor “singer”), Auberson here entrusts his voice to his son!

And in fact, saxophonist César becomes the spokesperson, the literal and lyrical mouthpiece of the duo from which he expresses all the melodic contours, while percussionist-pianist Pascal brings together his delight in listening, their complicity and his galvanizing rhythmic prompting. The roles distributed, the music can unfold its threads and unveil a universe resolutely dreamed up by the two instrumentalists who never cease to surprise each other despite their naturally innate complicity and their visceral knowledge of the personality of the other.

That being said, César certainly had to fight against the tutelary hurricane of this musical monster that is his father, and Pascal to conform to the innovative and personal melodic choices of his extremely gifted offspring César, in a kind of bargain of influence and respect that has made this project as passionate as it is thrilling. Not to mention the obvious, that the songs of Auberson, played/sung by the saxophone of Decker, gain a grandeur and a majesty and are in no way impoverished by the absence of lyrics, even to the point that some of these “songs” become veritable “compositions” which deserve just as much to become… “standards”!

Like the finale, “Scène Noire” (Black Stage), performed to an audience literally shaken up, and whose fervor had obviously made an emotional round trip from the spectators back to the stage… (black or otherwise)!

Yvan Ischer