Without compromise, Pierrick continues his irresistible rise toward an ever deeper jazz; spiritual and communicative, virtuosic and contemporary. This singular strength now places him among the great international soloists and gives him a prominent place among the emblematic leaders of the European scene.
Alongside a prolific discography, Pierrick Pédron has been touring since 2019 at the head of a French quartet. It consists of the indispensable double bassist Thomas Bramerie (Toots Thielemans, Dee Dee Bridgewater, Jacky Terrasson), a partner of 30 years, and two exciting players from the new scene: pianist Carl-Henri Morisset (Archie Shepp, Arnaud Dolmen…), “30 years old and an extraordinary musicality” according to Louis-Julien Nicolaou (Télérama), and drummer Elie Martin-Charrière (Robinson Khoury, Mark Priore…), “a major figure in French jazz today” according to Pascal Anquetil (Jazz Magazine).
Over time, this intergenerational quartet has developed an extraordinary way of living (jazz) together. In the transmission of their art, the obvious maturity of some blends with the vitality of others. The whole then becomes a unique, moving, interconnected, creative, and demanding entity, greater than the sum of its parts.

This movement, which began five years ago, is finally coming to fruition with the long-awaited debut album from an exceptional quartet. Witnessing one of the band’s moments of grace on stage, artistic director Daniel Yvinec proposes a new mountain to climb. Why not take on the impossible by revisiting “The Shape of Jazz to Come,” one of Ornette Coleman’s pivotal albums, recorded in 1959?

The original work offers a considerable number of gaps and open windows into which the quartet will be able to rush. Adding harmonies to Ornette’s music is a perilous project in many ways. Laurent Courthaliac, the “master harmonist” already at work on 50/50 and Pedron/Rubalcaba, sets to work and, together with Pedron and Yvinec, imagines a thousand ways to transform the manifesto album.