Glenn Ferris Trio (Is Back)

A new musical adventure for this great trio with original instrumentation (trombone,
cello, double bass). A summit meeting with three magnificent partners
three fabulous musicians!

I've been asked several times to explain the “WHY and HOW” of the
GLENN FËRRIS TRIO. Now that the opportunity has arisen, I'm going to try and shed some light on the subject.
clarifications on the subject.
A trombone, a cello plus a double bass, so what? What would be the thing
between these three instruments that would make it all musically coherent, interesting,
exciting, sensitive, rhythmic, original, in keeping with a “very personal sound” that's immediately
immediately identifiable.
I've always been drawn to the cello and double bass for their warm, rich, woody timbres.
woody, rich and warm. For me, they are veritable entities filled with a breath
that's very close to me. That's why I think of the sound of wood every time
every time I play the trombone.
The value of the musicians is always at the root of a band's quality. By this I mean
that Vincent SEGAL and Bruno ROUSSELET are unfailingly great performers
and great soloists. With Vincent, I appreciate his sense of rhythm and nuance
and nuance, and his ability to transpose the technique and language of the classical
to African, South American and jazz music. With
Bruno, it's his solid sense of tempo and swing, his deep “jazz feeling” and the generous
the generous sound of his double bass, and together they have the ability to penetrate
musical worlds.

THE SEVEN APHORISMS OF THE GLENN FERRIS TRIO:
1. The three instruments must become one in a sound of accoustic energy
natural. concentrated. sensitive and intense.
2. Create music that is full of dynamics but also full of nuance and space.
3. That melody, harmony and rhythm must be shared in unison
by each of the three musicians.
4. The intrinsic qualities of each musician should be exploited and
musician.
5. To create a limitless repertoire of our own experiences and influences,
authentically diverse, and always musically and structurally
both musically and structurally.
6. This specific sensibility being our basic structure, it must maintain the equipollence
this equipollence between improvised solos and written music'.
7. That the essence of this synthesis draws its breath from the very syntax of jazz.
- Glenn FERRIS