Grazzia Giu gives in the modern jazz but version Pop accents, which one finds in her last album,
First question then the flood of words. Grazzia Giu has things of them to tell on its music. The singer of jazz took her time. Most polished will call that of the experiment. She says it more simply: it is the life.
She discovers Beatles at three years, then, the courses of musical theory and piano at seven years, with the music like loophole “of a violent hearth”. His/her grandmother returned from the United States with record crooners in her bags and already, obviousness.
I was inhabited by the music, I knew that I will make some”, explains Grazzia. Then the discovery, with the adolescence of Led Zep, Black Sabbath, Genesis, Lou Reed and the favourite for Bowie. “I saw full off concerts, at that time, still remembers the singer.
I was plunged in the music but without really making some.” Then it leaves its native Belgium, bump in a club of vacancies when “one sticks a microphone in the hand”. “I discover the scene”, she releases.
“One runs all after something”
Then she arrives at Grenoble, works, takes again the song but into lyric because she “had a classical formation.
She is devoted to its family life, rediscovers the jazz of her grandmother. And then the catch comes, at the time of a internship with Crest. She is re-examined there one moment: “It is insane all that I learned over there…” A singer was born. A songwriter too.
I am somebody who thinks then I laid down the things on paper.” It leaves a first album, a second. “It was rather intimist jazz, rather melancholic person”, she analyzes with the passing. With its third opus, “Changes Air”, it enters a new dimension.
I do not speak any more only of me, I opened on arrangements.” She copies pop accents, works in osmosis with her musicians. “One is always in the creativity.” She collaborates with Lionel Melot in the piano, “in true musical communion, with Andy Baron, that she “for a long time knows” on the drums and Dominique Di Piazza, “who had a favourite for my music and told me to call it if I remade an album.
Pretend : Then here “Claims”, the last-born child, with his doubts, its loneliness’s, its hopes, its universality.
She will defend it on scene,
The scene, it is an engine. It is necessary that I show what I have in the belly. I find that I do not make any enough, laughs. And takes an almost serious air, to conclude: “One runs all after something when music is made