PRESS REVIEW Dominique Abdsellam - Pretend 2014

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GRAZZIA GIU PRETEND

“… On words of a poetic melancholy, Grazzia Giu deposited a sober and delicate music which is engraved durably in our memory. Softness, sensuality, precision and musical quality of its stamp so into perfect adequate with the intimist environment which colours our listening… “

Revue The Lion

“…The title Claims which gives its name to the album PRETEND is a master of balance and of precision as well by its writing as by its licked production,
indisputably a key period… an album full with subtleties which hesitates between pop and jazz what in fact finally all.

Jazz Rhône Alpes

“….Accompanied by Lionel Melot with the piano (Co-arranger, beater
Andy Baron and of Dominique Di Piazza to low (deJohn McLaughlin in Birelli Lagrène), the singer weaves the fabric of a music of little noise but much of depth, perfectly expressionist. “

Jazz News décember 2013

“… This disc of songs more pop than jazz is characterized by its sobriety: no useless ornaments, effects of sound to the mode, just some sound environments to colour the unit. A voice to be discovered… if you do not know it yet, like us! ”

Culture Jazz

“… This new album comes to confirm the beautiful trajectory of this artist who proposes a delicious album. “Claims” finds a balance perfect between melodies which do not have any evil to bewitch you, of subtle arrangements and musical collaborations which carry this new album towards appetizing notes.

BSC News Magazine

Grazzia Giu in the Jazz Club of Savoy: Class & Romanticism by Philppe Morel

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The class released by Grazzia Giu by its scenic imposing presence, its way of posing the words on the notes, this class conveyed by a mixture of pop and jazz with image of certain rock'n'roll English stars.

Pretend name of its last album of which main part of the twelve beaches was interprets, finds a good portion of its roots on the other side of the Atlantic.
Through the English language in which are written the titles but also compositions which are not without evoking of Lennon,  McCartney or Brian Ferry for quoting that some.

The romanticism of the texts carried by the game of piano of Lionel Melot game worthy of the great time of the classical romanticism or certain formations rock'n'roll of the Eighties, for reference recovery it by these two artists of Perfect Day , certainly the most romantic composition of Lou Reed.

With that addition the low one of Dominique di Piazza to the sonority which; is not without evoking that of Jaco Pastorius, sonority melodious with wish which brings the jazz Weather Carryforward and is reminded; time when Joni Mitchell was accompanied by Pastorius, Michael Brecker and Don Allias.

On Pretend quot; as on scene Grazzia Giu is accompanied by Lionel Melot, Dominique di Piazza et Andy Barron with pulsates hooligan pop jazz British smart side which sied to perfection with this unit. Unquestionably this formation has a sound, a kind.

Many are the references which invite the public to remain hung; at the end of the evening.

Philippe Morel 

IMPRO JAZZ - MARCH 2014 by Bob Hatteau

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GRAZZIA GIU : PRETEND

Grazzia Giu (voc), Lionel Melot (p), Dominique Di Piazza (b) et Andy Barron (d)

After Keep, Searching Lost and Change Air, the singer Grazzia Giu fate Pretend in February 2013 at GDW Music. She is accompanied by the pianist Lionel Melot, the bass player (and guitarist) Dominique Di Piazza and by the beater Andy Barron.

In Pretend, Giu proposes twelve English songs, written his hand and arranged by Melot or Grazzia . Lyric introductions of the piano (“Here Angels Playing”), melodious verses (“Always Lost”), taste of the ballades (“Claims”), phrased without asperity (“The Jazz of Revolution”),  the binary passages (“Doubt Of Mine”)… all in the music of Claims harmony with what Giu defines as “intimist pop-jazz”.

Giu has a cordial stamp in the medium – serious and rather clearly in the acute ones. In most pieces, the singer sticks more to the texts and the melodies that with the malaxation of the sound matter.

“Mother Of All Mothers” is undoubtedly the exception which confirms the rule because the piece resembles an incantation, with the voice of Giu which dialogues with powerful strikings of Barron on his barrels, accompanied discreetly by a base line rises and of the fronts minimalists of the piano.

To also raise “The Man Who” which falls under a register country – involving rock'n'roll. Flexible and attentive guide, Melot is inventive in trio with Di Piazza and Barron (“Out Somewhere There”). With the guitar (“Paris the City of Love”) as with low (“Pretend”)

Di Piazza is of a frightening skill. It puts its lines at the tuning fork of the song of Giu (“Forgive Me”) and takes some supersonic chorus of which it has the secrecy (“Running”). Barron is light when it is necessary (“Young stag Angels Playing”), binary on the occasion (“All Over”), groovy in some circumstances (“Paris The City Of Love”) and ternary per moments (“Out Somewhere There”).The ears accustomed to the sound sculptures of the impromptu musics are extremely likely not to be over the same wavelength as Giu, but the amateurs of jazzy variety will find there certainly their account…

GRE - CITY LOCAL NEWS - 29/10/2013 by Coralie Dreyer

Classe & Romantisme.

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