Last updated: 10 hours ago
Sylvain Barou
(wooden flutes, duduk, zurna, bansuri, mey, kabazurna, uilleann-pipes, biniou kozh, pku, shvi, gaida, persian neyanban…)
One of the most captivating flute players nowadays, Sylvain Barou likes to put down all barriers on his way. Coming from a strongly rooted tradition of breton and irish music, he was also opening his mind and ears further East, thanks to rich musical encounters. The beginning of his personal « silk road » began with learning indian bansuri/hindustani classical music, then his interest for modal music pushed him further in Turkey, Armenia, Iran and Azerbaijan, through the intensive learning of duduk and zurna and adapting these styles and techniques to his main original instrument, the wooden flute (which is usually commonly heard in a Celtic music context only..) All these influences have nourished and built a unique and open language that allows him to be at ease in various contexts, whether it is traditional, jazz, electronica/experimental and even baroque or classical. He has participated to many concerts, recordings, projects, along with Keyvan Chemirani, Prabhu Edouard, Trilok Gurtu, Sabir Khan, Vincent Segal, Stéphane Galland, Michel Alibo, Stéphane Edouard, Donal Lunny, Stelios Petrakis, Efrén Lopez, Eléonore Fourniau, Adnan Joubran, Denez Prigent, Rusan Filiztek, Jacques Pellen, Erik Marchand, Annie Ebrel, Karim Ziad,Nguyen Lê, Altan, Baptiste Trotignon, Airelle Besson, Didier Ithursarry, Titi Robin, Coşkun Karademir…
(wooden flutes, duduk, zurna, bansuri, mey, kabazurna, uilleann-pipes, biniou kozh, pku, shvi, gaida, persian neyanban…)
One of the most captivating flute players nowadays, Sylvain Barou likes to put down all barriers on his way. Coming from a strongly rooted tradition of breton and irish music, he was also opening his mind and ears further East, thanks to rich musical encounters. The beginning of his personal « silk road » began with learning indian bansuri/hindustani classical music, then his interest for modal music pushed him further in Turkey, Armenia, Iran and Azerbaijan, through the intensive learning of duduk and zurna and adapting these styles and techniques to his main original instrument, the wooden flute (which is usually commonly heard in a Celtic music context only..) All these influences have nourished and built a unique and open language that allows him to be at ease in various contexts, whether it is traditional, jazz, electronica/experimental and even baroque or classical. He has participated to many concerts, recordings, projects, along with Keyvan Chemirani, Prabhu Edouard, Trilok Gurtu, Sabir Khan, Vincent Segal, Stéphane Galland, Michel Alibo, Stéphane Edouard, Donal Lunny, Stelios Petrakis, Efrén Lopez, Eléonore Fourniau, Adnan Joubran, Denez Prigent, Rusan Filiztek, Jacques Pellen, Erik Marchand, Annie Ebrel, Karim Ziad,Nguyen Lê, Altan, Baptiste Trotignon, Airelle Besson, Didier Ithursarry, Titi Robin, Coşkun Karademir…
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