[vc_row content_placement=”middle” iron_row_type=”full_width” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”parallax” iron_bg_video=”” css=”.vc_custom_1532355321985{padding-top: 165px !important;padding-bottom: 165px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][\/vc_column][\/vc_row][vc_row iron_row_type=”full_width” iron_remove_padding_medium=”tabletnopadding” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=”” css=”.vc_custom_1452106591529{padding-right: 10px !important;padding-left: 10px !important;}”][vc_column][vc_row_inner iron_bg_video=”” css=”.vc_custom_1532356283196{background-color: #000000 !important;}”][vc_column_inner width=”1\/2″][vc_custom_heading text=”Daniel Goyone
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Since 35 years, Daniel Goyone has developed a very personal composer’s universe, far removed from the usual musical classifications.\u00a0<\/em><\/span><\/p>\n As a pianist coming from the jazz world (records with Bunny Brunel with the participation of Chick Corea among others), with Latin American (Cuban and Brazilian) and Indian (a long collaboration with the percussionist Trilok Gurtu) influences, Daniel Goyone’s music owes much to melody, writing and a thorough study of modal and rhythmic cycles.<\/em><\/span><\/p>\n The particular nature of this music explains why it has been widely interpreted by singers such as Claude Nougaro, jazz bands like the Orchestre National de Jazz, or Chamber Orchestras.<\/em><\/span><\/p>\n It has frequently featured in radio and television jingles, in movies and in the theatre.<\/em><\/span><\/p>\n Daniel Goyone is also recognized as a pioneer of teaching methods by extending jazz education to other fields as practice of rhythm, use of modes and scales and composing.<\/em><\/span><\/p>\n [\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”5602″ img_size=”full” img_fullwidth=”0″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row iron_row_type=”in_container” iron_remove_padding_medium=”tabletnopadding” iron_remove_padding_small=”mobilenopadding” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=”” css=”.vc_custom_1432916017400{padding-right: 8px !important;padding-left: 8px !important;}”][vc_column width=”1\/2″][vc_empty_space height=”30px”][vc_custom_heading text=”Recordings Daniel Goyone (Cream records 1982)<\/em><\/span><\/p>\n Goyone 2 ( Label Bleu 1986)<\/em><\/span><\/p>\n Third Time ( Label Bleu 1989)<\/em><\/span><\/p>\n Lueurs Bleues ( Label Bleu 1993)<\/em><\/span><\/p>\n Il y a de l\u2019Orange dans le Bleu ( Label Bleu 1995)<\/em><\/span><\/p>\n Haute Mer ( Label Bleu 1999)<\/em><\/span><\/p>\n Etranges Man\u00e8ges (CC Production 2004)<\/em><\/span><\/p>\n Goyone Blues ( Hevhetia 2014)<\/em><\/span><\/p>\n French Keys (InOu\u00efe 2018)<\/em><\/span><\/p>\n [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6679″ img_size=”medium” alignment=”right” style=”vc_box_shadow” css_animation=”appear” img_fullwidth=”0″][\/vc_column][\/vc_row][vc_row iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=””][vc_column width=”2\/3″][vc_empty_space height=”50px”][vc_custom_heading text=”In the Press “There is a delicious paradox in Daniel Goyone’s art : We find ourselves wanting to hum his melodies despite their obvious complexity.” (Jazz Hot)<\/span><\/span><\/span><\/p>\n Une musique r\u00eaveuse et nostalgique, comme tendue vers un r\u00eave de r\u00e9conciliation: le jazz et le classique fran\u00e7ais, l’outrance intellectuelle et la na\u00efvet\u00e9 romantique, le populaire et l’\u00e9litiste. <\/em>(Le Figaro)<\/strong><\/span><\/p>\n “A nostalgic and dreamy music aiming to reconcile opposing forces: jazz and French classical music, overwhelming intellectualism and romantic naivety, the popular and the elite.” (Le Fig<\/span><\/span>aro)<\/span><\/span><\/span><\/p>\n Une exigence extr\u00eame au niveau de la conception associ\u00e9e \u00e0 une fluidit\u00e9 d’ex\u00e9cution totale.<\/em> (Piano Magazine)<\/strong><\/span><\/p>\n “Extremely demanding on a conceptual level – seamlessly executed.<\/span><\/span>\u00a0(Piano Magazine)<\/span><\/span><\/span><\/p>\n S’il fallait r\u00e9sumer mon approche de la composition : harmoniser les rythmes et rythmer les harmonies pour susciter des m\u00e9lodies originales (Daniel Goyone)<\/em><\/span><\/p>\n “If I were to summarise my idea of a composer: harmonize the rhythms and rhythm the harmonies to stimulate melodic inspiration.” (Daniel Goyone)<\/span><\/span><\/span><\/span><\/p>\n [\/vc_column_text][vc_empty_space height=”50px”][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”6611″ img_size=”full” img_fullwidth=”0″][\/vc_column][\/vc_row][vc_row iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=””][vc_column width=”2\/3″][vc_empty_space height=”50px”][vc_custom_heading text=”Books \u2014 Le langage de l\u2019Improvisation (french text),\u00a0 Musicom 1993 \/ 1999<\/em><\/span><\/p>\n \u2014 Rythmes (french text), Editions Outre Mesure 1999 \/ 2002 \/ 2007<\/em><\/span><\/p>\n \u2014 Les Cahiers du Rythme Vol. 1, 2 & 3 (french text), Editions Outre Mesure 2008<\/em><\/span><\/p>\n \u2014 Ab\u00e9c\u00e9daire de la Composition (french text), Editions Outre Mesure 2012<\/span><\/em><\/p>\n [\/vc_column_text][vc_empty_space height=”30px”][vc_custom_heading text=”Sheet Music
\n” font_container=”tag:h4|font_size:18px|text_align:left|color:%23dddddd|line_height:12px” google_fonts=”font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:900%20bold%20regular%3A900%3Anormal” fit_bg_text=”0″ el_class=”.costumespacing1″ css=”.vc_custom_1542359699742{margin-bottom: -15px !important;}”][vc_empty_space height=”50px”][vc_column_text]<\/p>\n
\n” font_container=”tag:h4|font_size:18px|text_align:left|color:%23dddddd|line_height:12px” google_fonts=”font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:900%20bold%20regular%3A900%3Anormal” fit_bg_text=”0″ el_class=”.costumespacing1″ css=”.vc_custom_1542382762374{margin-bottom: -15px !important;}”][vc_empty_space height=”50px”][vc_column_text css=”.vc_custom_1542626222365{margin-right: 4px !important;}”]Il est un paradoxe savoureux dans l’art de Daniel Goyone: l’on se prend \u00e0 vouloir fredonner ses m\u00e9lodies, en d\u00e9pit d’une complexit\u00e9 r\u00e9elle. <\/em>(Jazz Hot)<\/strong><\/span><\/p>\n
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