If you’re interested in world music, this label is no stranger to you; in fact, it has become the most comprehensive on the planet for traditional and so-called “urban” music. I physically discovered one of its groups last December at the MJC Picaud in Cannes, Le Tigre des Platanes accompanied by the Ethiopian singer Eténèsh Wassié. The intimate nature of this little-publicized Cannes venue allowed us to be very close to these fantastic jazz musicians from Toulouse and the equally amazing Eténèsh. It was while talking after the concert with Marc Démereau, the saxophonist and leader, that I learned about their imminent departure for a tour of over a month in Ethiopia before returning just in time for Midem at the end of January, to celebrate the 20th anniversary of their label Buda Musique.
Caption: Gilles Fruchaux, Artistic Director of Buda Musique
This was an opportunity to learn more about an independent label that has not only managed to last but continues to develop in a challenging recording industry context over recent years. Beginning of explanations with Gilles Fruchaux, the artistic director of Buda Musique, a few hours before this very special evening with two groups in concert in the Diane lounge of the Majestic Hotel, including Le Tigre des Platanes (1) opening before Yom and his kesmer clarinet.
Nice-Premium: It was quite a gamble to create Buda Musique!
Gilles Fruchaux: This label was created during a more flourishing time for the record market, but it was also at the time of the advent of what we call “world music.” The idea was to dedicate ourselves exclusively to this repertoire, both traditional and more “urban” music, such as that of Le Tigre des Platanes.
N.P How is the selection made?
G.F: By taste, by meeting. Chronologically by meeting, then by taste. Even though there is a commercial afterthought, it is not the main driver of our approach. The driver is the encounter, the aesthetic attraction to a particular way of working.
N.P: Is that sort of what happened between Eténèsh and Le Tigre des Platanes?
G.F: It’s a longer story than that. In fact, since 1996, we have developed a collection called Ethiopiques (2), dedicated to popular Ethiopian music, mainly from the 70s which were the “golden age” of its music, a period marked by intense production corresponding to the end of Emperor Haile Selassie’s reign, the liberalization of customs, the influence of American soul music, and before his successor Mengistu, who would ban all music. The people from Le Tigre des Platanes, coming from a jazz background, bought volume 1 of this collection, were fascinated by Ethiopian music, and decided to learn more by following the collection. In Vol.2, there was already a track by this singer whom they met in Addis Ababa thanks to the director of the collection, Francis Falceto. A musical encounter that progressed more and more to become a true osmosis between them and her. In fact, it all started by record interposed as soon as Marc, their leader, bought Vol.1.
N.P Did you think you would celebrate the 20th anniversary of the label at Midem?
G.F: We wanted—out of vanity—to celebrate the 20th anniversary more spectacularly at Midem because our label is slightly older, having been created in 1987. This opportunity presented itself because Le Tigre (des Platanes) had been noticed last year by Midem’s artistic service during the release of their CD, and I had just released another album with the other group featured that evening. So, I recalled this past interest and proposed to do a “showcase” with the two groups as part of Midem Jazz.
Unlike the venue of MJC Picaud in December, there was no encore at the Majestic despite the clear enjoyment of the audience (we had the privilege of several additional pieces at that time) nor an extension of the 45 minutes assigned, the second group from Buda Musique, Yom, had to follow. The Midem machine is inflexible on concert timings, given the number that were scheduled.
Buda Musique, an independent label – one of the first to have offered its catalog online – and has managed to position itself by prioritizing encounters and artistic approach, something the regional artists from Lo Cor de la Plana and Lou Courra de Berra would not deny.
