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Tuesday 12 February
8 pm
Théâtre Claude Debussy
116, avenue du Général de Gaulle
+33 1 41 79 17 20

SUBURBAN : RER line D Maisons-Alfort - Alfortville station. Maisons-Alfort way out - go straight away and then take the2nd street on your right: avenue du Général de Gaulle. The theater is on the City Hall's forecourt. 
ROAD : take the A4 road from Paris - 1st way-out: Maisons-Alfort - straight away after Charenton's bridge. The theater is at the crossroads between Avenue du Général de Gaulle and Avenue de la République.
CAR PARKS : 112 av. du Général de Gaulle / 31 av. de la République (FREE EXIT)


HASSE POULSEN - guitar | DANIEL ERDMANN - tenor saxophone | EDWARD PERRAUD - drums

It's the story of a German, a Dane and a Frenchman. The Dane said to the other two: "I dare you!" In 2002, Daniel Erdmann and Edward Perraud answered Hasse Poulsen: "let's do it!" Thus was born Das Kapital, a truly European trio that does not hoard feelings. After having updated, according to the Brötzmanian tangent, the music of Hanns Eisler, having machine-gunned a few Christmas songs, the trio added blue and white to their little red book to enlist Charles Trénet, Claude François, the Baroque of Rameau, Georges Brassens, Patrick Hernandez, and Claude Debussy in their scheme. Pop culture, kitsch and jazz whirlwinds rub shoulders with contemporary music's well-known figures.



MICHEL PORTAL - clarinets, soprano saxophone, bandoneon | JOACHIM KÜHN - piano

One masters the clarinet, the other plays the piano. One was close to Pierre Boulez, the other fed his style with Franz Listz. One participated in the launch of free music in France, the other broke jazz partitions with Ornette Coleman. Michel Portal and Joachim Kühn were present on a series of major events in the recent history of jazz in France. Now, the two instrumentalists know each other perfectly. Each plays with the expectations of the other thanks to a demanding nature that owes nothing to nostalgia, let alone revivalism. Eminently complex musicians, Michel Portal and Joachim Kühn have nothing to do with sleeping institutions but are still working to link American jazz to its European concerns and classical culture, in a furiously sensual and always a little harsh way.