Petit Train

A journey through musical genres that bounce off one another, where jazz, classical, rock and funk rub shoulders with klezmer, tango, bossa nova and other traditional colours, generating harmonious echoes and an intense rhythmic drive. A journey through composed melodies, arranged and interpreted by guitarist Simon Fransquet, blossoming into full colour through the alchemy of four other complete musicians from diverse backgrounds, whose eclecticism and atypical personalities fuse into a perfect whole. Young band formed in Liège in 2012, Taxídi is composed by five musicians from eclectic backgrounds. Taxídi means travel in Greek. Simon Fransquet’s compositions are inspired by his trips and meetings.

Is it a classical, jazz, klezmer or tango album? Stylistically, the second album by the still young trio ClariNoir is difficult to categorize, because it combines the entire musical range of the young musicians in the compositions by Wolfgang Amadeus Mozart and Ilja Ruf.

Tom, 11 ans, vit dans un mobil-home avec sa mère Joss, 25 ans, qui le laisse souvent seul pour passer du temps avec ses amis. Tom se débrouille en volant des fruits et légumes dans les potagers des voisins. Une nuit, il découvre Madeleine, 93 ans, couchée, en pleurs, dans son jardin. Puis c'est un homme habillé en croque-mort qui surgit dans les parages. …

En gare de Tokyo, Kimura est sur le point de monter dans le Shinkansen, le train à grande vitesse japonais. Armé, il est à la recherche du collégien qui a poussé son fils de 6 ans du haut d'un toit. Dans ce même train, Lemon et Tangerine sont chargés de récupérer le fils kidnappé d'un gangster et la valise de la rançon, ainsi que Nanao qui doit récupérer ladite valise. …

The “Péchés de vieillesse” composed by Gioacchino Rossini exclusively for private use during the final years of his life in Paris (1857-68) bring together thirteen volumes of vocal, choral, and chamber music as well as more than a hundred piano pieces that he termed “semi-comic” and dedicated to “fourth-class pianists.” The wit and humor of Rossini’s piano music make it unique in the history of music. Of great virtuosity, pervaded by the ideal of Italian song, playing with influences from the opera, the salon, and the cabaret, and taking boundless delight in brilliantly wild ideas and waggish parodies, it remains a very personal bequeathal full of profound seriousness and playful irony, movingly intimate, and merciless toward the composer’s own weaknesses.