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After studying classical accordion and clarinet, Vincent Peirani moves toward jazz and improvised music, while also taking classes at the Paris Conservatory.
He has performed with many musicians, among which Marcel Azzolla, Jean Paul Celea, Denis Charolles, Bruno Chevillon, Manu Codjia, Renaud Garcia Fons, Fred Gastard, Yaron Herman, Stéphane Huchard, Daniel Humair, François Jeanneau, Sylvain Luc, François Merville, Christopher Monniot, Youn Sun Nah, Emile Parisien, Dominique Pifarély, Michel Portal, Louis Sclavis. While, in the world of world and classical music, he instead worked with Roberto Alagna, Le Cirque des Mirages, Mireille Delunsch, Kiko Ruiz, Laurent Korcia , Lansana Kouyaté, Art Mengo, André Minvielle, Pier No. 5, François salquë, Foo Fighters, Cheikh Tidiane Seck, Les Yeux Noirs. In parallel to these activities, Vincent Peirani produces and publishes several projects: a solo album titled “L’ébruiteur”, his duet with Vincent Lê Quang (the disk “Gunung Sebatu”, published in February 2009 by Zig Zag Territories), the other duet with François Salquë (the disk “IS”, published in February 2011 by Zig Zag Territories), “Living Being” electric rock quintet with Emile Parisien, Yoan Serra, Tony Paeleman & Julien Herne and the pop-world quintet “Séjalan”, co-directed with the French-Indonesian singer Serena Fisseau.
Can you talk about the beginning? When did you start and how the world of accordion is changing in recent years?
At the real beginning, I wanted to play the drums, but my father didn’t want and chose the accordion for me. He was musician when he was young and played a lot of instruments as saxophone, clarinet, guitar, flute.. and also the accordion. So, for me, it was horrible! Back to the 90’s, nobody and even more a teenager wants to play the accordion. I remember when everyday he put the accordion on my knees, I was crying… But with time and music, it has changed! When I heard the first time Bach music, it was a shock. And my father, who is a smart guy, told me: “you like this music? Do you know you can play it with your accordion?” I didn’t believe him, but we went to see a new teacher and I started my classical lessons on the accordion, and that’s how the “love story” between this instrument and me began!
Nowadays, I see more and more accordion in different type of music, which is great for the instrument. I think people are less afraid with the instrument, and as the musics are more and more mixed, the accordion can fit in everywhere!! This is just my opinion, regarding my experiences. But, we have to continue to promote the accordion, and how great instrument it is!!
You often play in Italy, both in festivals and in important places such as the Auditorium Parco della Musica in Rome. Do you think the Italian music scene is interesting for music performed with accordion?
I don’t know yet, cause it’s really new for me to come and play in Italy, but I know one thing: Italian people knows the accordion!! And I’m sure they will like it more and more!
Did you ever work with Italian musicians?
Yes, because we have a lot of italian musicians in Paris. Speaking about Francesco Bearzatti, Federico Casagrande, Riccardo Del Fra, Mauro Gargano, Guido Zorn, Aldo Romano, Eric Legnini… I just finished recording the new project of Federico Casagrande (on guitar) with Michele Rabbia (laptop, perc) and Vincent Courtois (cello) for CAM Jazz. I play sometime in duo with Francesco also, a program between compositions and rock tunes… So yes, I’m working with italian musicians and I like it!
Do you have experience in teaching?
Yes but now I have no more time for teaching. Sometimes people call me for masterclass in school and if it can fit with my schedule I like to do it because teaching to students always teach me something. I hope you understand what I mean. So, that’s why it’s always a new experience for me and very exciting!
You spend on projects that are very different from each other. This is research, experimentation, or the need to deal with different languages?
I think it’s all of that! Research, cause I’m always looking for something different and I try to extend my musical langage, so research is a big part of my work. Experimentation, because it’s also fun to try something new about the music, the musicians, the instruments, the forms… I like also travelling between different music worlds, I like music and have no borderlines! And thanks to internet, the world is open to our ears! So we just have to be curious and look and listen to it!
Often international criticism alongside your name to that of important musicians. This creates expectations in the public. How do you live with this situation? Create expectations even in yourself, or you can ignore it and focus on your work?
I’m very surprised with all this, and I’m not sure I’m really aware of that, and I think it’s better in a way. For me, the most important thing is to stay focus on what I have to do, what I want to do. I try to be honest with myself, the music and so with the public. This is the real thing for me.
Could your talk about your experience with great guitarist Ulf Wakenius?
We met in Youn Sun Nah’s quartet. She was used to play in duo with him and she wanted to try something with me and the bassist Simon Tailleu. It was 3 years ago. After few concerts, Ulf asked me to join him on his next album “Vagabond” with Lars Danielsson. That’s how it begin. Since this moment, we played as a duo and also in trio with Simon. It’s Youn Sun Nah Quartet without Youn Sun Nah!! It’s really incredible to play with him because you can hear in his music so many different things!! I’m a big fan of Oscar Peterson and Pat Metheny, and it’s two musicians he played with!! Wow!! I feel lucky to share some music on stage with him.
Is interesting to note that you have made music for children. How do you reconcile this with the other activities in which you are involved?
During many years I had to switch between different repertoires: jazz on monday, french song on tuesday, free music on wednesday, trash metal on thursday, flamenco on friday… It’s difficult at the beginning because you can loose yourself in all these musics! But it was for me very interesting, because it’s “just” music. So I had to find a way to be myself in all of that and respect each music. So, with the music for children, it was the same, and I was lucky to work with people who really knows this kid’s world, so it was easier for me. I’m used to say my specialty is that I’m not a specialist, and I think it’s a good image to explain who I am.
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