« Sur papier, mon parcours professionnel paraît réglé d'avance : ingénieur, pilote de chasse, pilote d'essai, astronaute. Une trajectoire type, droite comme une flèche, pour un professionnel du domaine. Mais cela ne s'est pas tout à fait déroulé ainsi. Ma route a été déviée par des virages en épingle et des impasses. Je n'étais pas destiné à devenir astronaute. J'ai dû me transformer pour y parvenir. »
This album explores the experience of foreigners in France. I see myself as belonging to a long genealogy of American artists who moved to Paris to escape the USA, a country that does not support its creators. Unlike my illustrious predecessors, I arrived in France during a pandemic that paralyzed the Parisian artistic scene. Paradoxically, the cancellation of live performances made it easier for me to collaborate with Parisian musicians and focus on composing. Rooted in the values and approaches of jazz, this album offers a musical view of Paris in the Covid-19 era. The ensemble’s direction, concept, and instrumentation is electronic and contemporary, using musical languages outside of the jazz tradition. Notably it mobilizes concepts from South Indian Carnatic music and North Africa. If French jazz musicians tend to mystify the New York and American music scene, having made the reverse journey, my music celebrates the mixing of culture that makes Paris a musical center.
The only constant about Nguyên Lê’s career is that it’s always evolving. The Paris-born and based musicianhas established himself as a preeminent voice in combiningmyriad global musics with Vietnamese influences in thrillingand groundbreaking ways. His latest release, Streams,continues in that tradition. The album is a collaborationbetween Le and the worldly-minded talents of Americandrummer John Hadfield, Canadian bassist Chris Jenningsand French vibraphonist Illya Amar.