Jazz: Anne Paceo, a shaman full of energy behind her drums

Very physical on stage, with a smile on her face and an implacable strike, unable to completely disappear behind her drums, Anne Paceo calls into play her successes and her rewards, with each appearance. At 37, she has clearly asserted herself in a few years. Music is my refuge, my support, my second childhood. She does me good, comforts me. Like when I bathe in the ocean, I feel freed from all constraints »she says today.

His latest album released in March, SHAMANES (writing with dots and capitals, like a manifesto), concocted in Coutances (Manche) and already experienced on stage, takes a new step. With this record, the musician goes towards her lifelong goal: intimacy at the start of each song (voice of Isabel Sörling and Marion Rampal), sudden outbursts (thanks to the drums of Benjamin Flament), partners in the spirit (Tony Paeleman , keyboards, and Christophe Panzani, sax, clarinets), fusion, explosion…

On June 23, Anne Paceo takes over La Cigale, which is generally reserved for heavyweights, heavier than jazz (rock, variety, world music). Which has the merit of fearlessness and enlightenment. A risk or a bet. “You can’t live without dreams», she says. Without leaving jazz, rather by doing “to take jazz out of jazz”: “You have to give another image to this music. Don’t scare, but get back to basics: jazz is freedom, freedom to play and to be what you are in the present moment », insists the musician. Trained in jazz with the most demanding artists (Alain Jean-Marie, Riccardo Del Fra or Rhoda Scott), Anne Paceo plays electro-pop with Jeanne Added or afro-groove with Mélissa Laveaux. This requires interpretation, but also improvisation, which can be found in a number of musics with which she has already rubbed shoulders (Burmese music, for example).

Wallpass Voracity

SHAMANES is the result of deliberate crossings: jazz, pop, folk, plus the music of shamanic ceremonies to which she was introduced. Neither fashion nor fantasy, but rather this impulse towards the spirituality of jazz (Coltrane), which she has always assumed, and the universal scope of the invented languages ​​to which she resorts, “as some shamans do in their rituals “. A kind of pass between visible and invisible, living and spirits, which she reflects in her desire: “I want to give access to audiences who wouldn’t simply go to this music. As did hip-hop or so-called urban music, which uses it to communicate. » A wall-to-wall voracity that she experiences as circulation and a desire to broaden audiences and deterritorialize her music. Without calculation or submission: Since childhood, shamanic practices have fascinated me. The first book that struck me was My initiation with the shamans by Corine Sombrun. »

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Jazz: Anne Paceo, a shaman full of energy behind her drums

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