photo de Jérôme B.Sedeyn I have been making music for a living since December 1969.

For a time I was always the youngest in the band; which was cool. Now it is the opposite, and (why hide it ?) it is somehow slightly irritating.
True, I could have done a bit more : become famous, own three houses, two SUV, a chain bracelet in solid gold and kept a crowd of ex wives alive with alimonies.
I didn’t.
Pianist, singer, songwriter, arranger, etc..., I went from pop to jazz, collecting experiences, from studio work to live music, stage music, theatre, documentaries...

69 was the year of my first steps on stage. The place was the Golf-Drouot (which was then THE venue for the in-crowd in Paris). The bands were the « Kama Sutra Blues Band », the « Blue Steel Feet », a ramshackle string of temporary and soon forgotten groups
69 was also the year of my first contract. Three months in... Ivory Coast ! I was sixteen.
Then came other bands : « Les Masters » (where I replaced Laurent Petitgirard on Hammond organ and clavinet, letting him pursue a career which claims, among other things, a beautiful opera - « Elephant man »... He still has all my admiration and friendship), « Papoose » ( which recorded several EPs, an album for Mercury, and served as a backing band for some name artists, like Vince Taylor, Sammy Gaha). What else ? Extensive touring, adventures galore in a Ford transit van...

photo de Jérôme B.SedeynFrom 73 to 83, I was on my own. After a first solo EP - which EMI never put out, I backed some French singers, found myself in a number of studio sessions (with "Tri Yann" among others), wandered all over France and England, had repeated contacts with recording companies, procrastinated, recorded demos...
In 76, a friend introduced me to Thierry Vincent, then a famous producer, who gave me the opportunity to record my first album (with EMI again) under my birth name, Jérôme Berrichon.
The following years saw the recording of two albums and a handful of singles (produced by Pierre Lattès and Claude Dejacques, then top-notch names in the French music business). Then came a fourth album, which sadly didn’t come out.
In the meantime I had had to adapt to the endless turnover of EMI executives. Few sales, expensive production, although the staff was never the same, the message never changed : I was costing money. And at every change in personnel (In less than ten years I witnessed at least three complete renewals of the staff, from president to press agents) I had to convince the newcomers of the interest of my work.
Critics were good, airplay was not too bad, TV was nice and average, but in 83 I was asked to find new investors.

photo de Jérôme B.SedeynToo struck to react, I went through a nasty period of despair. Then providence came with the face of a friend of mine, Didier Mauvêtu, a talented artist now deceased, who succeeded in convincing me that I could earn a living as a piano-bar player - which I seriously doubted at the time.
But he was right.

Not only did it allow me to improve my piano playing, discovering wonderful musics on the way, but it offered opportunities for luxurious stays in paradisiac resorts, from which I came back with a nice tan and pockets bulging with banknotes. I also had the satisfaction to play my own music, which I slipped incognito in between standards, to a various and cosmopolitan audience .

And today ?... Well, I keep on writing songs, as it seems to be a basic physiological function of mine.
Mostly in English, curiously - because although I’m French, my musical culture started with Anglo-American pop.
photo de Jérôme B.SedeynBut also in French, first because I had to (in the seventies, no one would have invested on a French singer who sang in English) and because I love my language.
Instrumental and piano music in various styles have come to boost my repertoire.
But I claim to be rather conventional.

Beauty is enough for me - when I reach it, and I dare to believe that it happens, because " they " say so.
Selfish as anyone, I love to be loved and I’m busy doing my best to make it happen.
Music is a rather good way to do it.

dessin anonymeFor years I relied on piano-bar. But as we all know, times are tough. So I diversified my activities.
I played for a good while in old people’s homes, making them sing their favorite songs, and I did so with the disabled too. A very enjoyable and rewarding job.
Theatre music, documentaries soundtracks, some sound-design... I also back singers, experimented the cicus world with a talented juggler… Now I play in Paris from time to time, sometimes in what is left of the piano-bars or in private parties (I’m available at all times ;-) and sometimes in Berlin where I’m starting to " dig the scene ".

But most of the time I spend in my studio, recording and mixing and re-recording and re-mixing my songs and music, planning sooner or later to make a cd out of these tracks.
Chi va piano va sano...
In the meantime they can be easily heard here.



Ce que je sais faire:

• Jouer du piano pendant des heures et chanter des standards de jazz, seul ou en compagnie de chanteuses, et ,ou, d’autres musiciens... Improviser.

• Jouer et chanter mon propre répertoire, en anglais et en français. Improviser.

• Jouer mon propre répertoire de musique instrumentale. Improviser.

• "Coacher" des artistes en devenir. Aider à préciser, à mettre en forme. Arranger.

• Accompagner des gens qui chantent, avec attention, partager.

• Composer de la musique dans des directions variées en répondant au plus près aux attentes de ceux qui me sollicitent. Comme tous les musiciens j’adore faire de la musique sur des images.

Pour ceux qui seraient intéressés, je suis sans doute moins cher qu’on imagine...



Piano-bar around the world:

L’Agora (Cap d’Agde) | L’Atelier (Saint Tropez) | La péniche (Angoulême) | L’Alba (Bastia) | Harry’s New York bar (Paris) | Le Tourville (Paris) | Le Tire-bouchon (Paris) | Hôtel de la Trémoille (Paris) | Restaurant La Pérouse (Paris) | Strathallan Thistle Hotel (Birmingham, U.K) | Fiddle leaf restaurant (St Thomas, U.S.V.I.) | L’Hibiscus (St Barthélémy) | etc... | soirées privées (France, Suisse, Italie, Allemagne, and more...)



Ont plus ou moins contribué, d’une façon ou d’une autre, à un moment ou à un autre, dans le désordre et au hasard de ma mémoire:

Kama Sutra Blues Band | Les Masters | Henri Leproux | Jean Hanela | Papoose | Alain De Ricou | Sammy Gaha | Vince Taylor | Didier Malherbe | Thierry Vincent | Melissa Mathurin-Nataf | Gérard Doustin | Tri Yann (Jean-Louis Jossic) | Alain Huygues-Lacour | Pierre Groscolas | Jean-Michel Reusser | Pete Banks | Paul Breslin | Laurent Petitgirard | Paul Scemama | Pierre Lattès | Claude Dejacques | Patricia Sanz | Philippe Constantin | Robbi Finkel | Françoise Puybasset | Paul Marks & Katja Gersonde | Denys Lable | Richard Lable | Madjid Mourad Malki & José & Christine de POTAR | Philippe Langlois | Nicole Croisille | Dominique Blanc-Francart | Anouk Ganzevoort | Gus Nemeth | Jean-Luc Estèbe | Martine Decourt | Claude Wagner & Daniel Michel | Pierre Desproges | Michel Birot | Charles Benarroch | Gilbert D’Allanèse | Bruno Castellucci | Evert Verhees | Kevin Mulligan | Maurane | Dorea Sisdee | Violette Valdès | Bernard Pellerin et pianosolo | Sandy Patton | Alain Gosselin | Didier Mauvêtu | Jean-Louis Foulquier | Etienne Roda-Gil | Daniel Fernandez | Guy Delacroix | Clément Bailly | Philippe Gall | Jean-Claude Poligot | Dominique Bleusez | Philippe Chanson | Luc Berrichon | Ma famille | Raphaël Berrichon | Zoltan Hajtmanski | Aude Machuel | Pierre-Marie Bonafos | Léonie | Joël Atlan | Jean-Yves Leroy | Pierre Achard | Frank Lords | Maryse Bessaguet | Memphis Slim | Christopher Laird | Jimmy Gibson | Vaillancourt | Pierre Batt | Noelia Moncada | Armande Altaï | Pascal Auberson | Olivier & Christophe Defays | Mathieu Rocton | Jean-Pierre Grosz | Freddy Rabuse | Trinidad | Laurent Wiame | Patrick Loubié | Jean Mareska | Jean-Michel Toulon | Christine Debeurme | Jean-Pierre Debeurme | Nigel Keay | et bien d’autres...
 
 
 
 
 
 
 
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