15/06/2011 16.45.24
Patricia Dallio

- Hi Patricia and thank You for your time, let’s start with a brief history of your musical journey starting from Art Zoyd to your solo works(the beginning, background, influences, experiences, records...)?

You’re asking me in one sentence to tell you 30 years of experience and musical creations.
In short, if you visit my web site or the sound tracks web site, you can find everything about my work. And you can also find some video of my performances.
I can tell you that, aside from Art Zoyd, that I joined in 1979 for the CD “Les espaces inquiets”, and with whom I created many works, till the “Kairo”, except for all the “experiences de vol”, I’ve never stopped experimenting collaborations with choreographers, theater directors, video directors or digital painters creating musical pieces and performances. And I still do it today, in my current art projects, with a lot of pleasure.

- I know You left Art Zoyd lately, how did this happen and what’s the main difference between with a band and on a solo project?

Yes, actually I quit Art Zoyd after the creation of Kairo in December 2009. I was not interested anymore in being a performer such as Gerard Hourbette wanted me to be in this latest creation. I started to develop my own sensors instruments for several years in my personal work and even for the first time with Art Zoyd, but for the two last creations, Gerard Hourbette was not interest by this instrumentarium for his compositions. This sensor instrument I use now gives me the possibility to play in a very sharp way, very open to the interpretation of music and to the sound treatment, and this is exactly the opposite I used to do during my two or three last years with Art Zoyd. The choice to give to the performers much more freedom in interpretation was not there; It's a personal approach Gerard Hourbette assumes very well, he defends it and I can understand this but today it's unthinkable for me, it's an approach that discords with my research, with my way of experimenting composition and with my instruments, so that's why I quit Art Zoyd. It was time, and I am very happy to have shared 30 years of Art Zoyd's history. Now our ways are differents... may be we'll meet us again one day !

- How would You describe your music, we label it as avant-garde and sometimes chamber rock mixed with classica (listening your solo works I find a lot of ‘900 century music: Satie and Xenakis in primis I d say, what can You tell us about your inspiration?)?

If there’s someone that is not able to talk about my music, that person is me ! It’s really hard for me to identify myself because when I compose music I don’t have any insurmountable barrier. I’m very curious and I love lots of very different styles of music.
May be you can feel it when you listen to some of my albums that are very different with each other. Of course I’ve got some big influences from “my young love”, since when I was learning the piano, my very first instrument. I’m talking about Bela Bartok, Olivier Messian, Jehan Alain, Mile Davis, Joe Zawinul, and also the English pop groups as Henry Cow, John Greaves, the German progressive rock of the 70s that I used to listen when I started to play in a group using amplified electronic pianos and instruments.
I think that cinema and movie’s music really influenced me. I’m a cinephile and this is very important to understand the expressionist dimension of my works, this is what have always being inspiring me. Today, I’m also interested in concrete music, in Jazz, in classic music, rock, electro … I like “to feed myself” of all these different universes, extraordinarily rich. I like to be surprised by what I don’t know yet! I find more interesting to let that the project I’m working on defines the style I will play next.
If you can define the style of my music, then you’re welcome. I love this expression :“cinema for the ears” !

- What processes do You use to compose your music? Are You more emotive or use an academic approach? Do You ever improvise? What do you think of improvisation?

I improvise with my keyboards and my sensors … I record everything I do and then I work on the material of my improvisation. I’ve not learn academics approaches, sometimes I regret but I always find the solution to harmonize my writing. The work on the sound is the most important thing for me, I can only improvise when I find some sounds that suit me. I build a sounds palette, then I start to paint… everything is in the color of the palette … I can spend lots of time to build this range of sounds, according to their context.

- I find your first solo work “Procession” of 1992 an awesome album, absolutely fantastic and I read Alain Eckert participated to it, can You tell us something about this album and also the collaboration in the great album Alain Eckert Quartet in the early 80s?

I composed it during the first bombs shouted on Iraq in 1991 … It was a very tuff time, I used to ear the B52 planes flying by my house during the night, and I could imagine the people that were going to be shout few hours later with those same bombs … It was my first album, so I had lots of pieces ready to be edited on CD and I worked on it very meticulously, as I love to do … go deep in the details of the sound and the composition. These pieces were composed without a particular purpose, they are just the glance of my soul at that time.

- What do You think of contemporary music as it’s today and what’s the main difference between today and 70s/80s music?

I don’t have much to say about that. I use to listen to what I love and what I already know, but fortunately I try very often new “forms” in live performances in very innovative festivals such as “Musique Action” in Nancy or “Densité” in Fresne, two French festivals that I enjoy a lot. The inventiveness is still more active than ever, and new technologies supports generate more research and experimentations, I love this evolution in music today. Sometimes, it can be boring, when the players are on the stage with their computers … that’s why I wanted to develop my new sensor instrument, that it’s a sort of extension of the computer and that generates a very choreographic gesture, it’s very scenic.

- Which target of listeners You want to reach with your music?

As I said before … I don’t need to join a community or a music style. When I create music for a project … I go deep in my past experiences and in my « souvenirs », auditory, visual or emotional ones … and I don’t try to approach a particular artist or a particular style, or a target of listeners.

- Which are the compositions/albums you love the most and more represent your music and why?

I love those albums that are deeply invested, involved, spiritual, universal and immensely sensitive :
- Meredith Monk "Dolmen music"
- Terje Rypdal "undisonus"
- Heiner Goebbels “Black & White”
- John Zorn 'Red bird"
- Einsturzende Neubauten "Kollaps"
- Alain Bashung "Fantaisie Militaire"
- John Adams " American Elegies"
- and lots of more !!!
I can’t say that these albums represent my music … but let’s say that they inspire it.

- And what are your plans for the future?

I’m working on two important projects. The first one is a poetical music performance about the master poet Philippe Jaccottet, that will be presented on the 8th and the 9th of November 2011, at the Nouveau Relax Theater of Chaumont.
The second one is a digital performance, graphic and sound, with a pin ball. You can read more about it on http://www.ciesoundtrack.com/html/2010/creation.htm
I’m also working on a new CD, about the music created for the first performance on Jaccottet’s poetries, named “Dans la nuit la plus Claire jamais rêvée”.

- Feel free to add whatever You like and thanks again.

Thanks to you Valerio, bye. Patricia Dallio.

Valerio Reina  

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