There are undoubtedly many piano trios in jazz. However, only very few of them have consistently done “their thing” as has the Marc Perrenoud Trio for many years to get inexorably to the top of their field. They have developed a language, which takes its inspiration from many sources like Esperanto and con- sequently can be learned and experienced by many. Opulently furnished harmony sequences remind you of Bach’s work, but then you are reminded of rock fanfares in the next moment. Only a few minutes later, and we are in the delta of blues that takes us on swinging waters. Then back to ballads full of sensitivity, which almost call études to mind. However, like the world and lives of the individuals in that, the music of the trio is rich in surprising moments, which either leave you with peace of mind or cause you to protest angrily. Whoever has seen the trio perform live knows how listeners are enchanted by this extraordinary music. Performances in cities such as Paris and New York, Berlin and Budapest as well as Buenos Aires and Panama are proof of this as are numerous tours through the Mideast and South America.

“Vestry Lamento” is surprisingly only the third album of the trio existing since 2007. The predecessor CD “Two Lost Churches” (DMCHR 71095) released by Double Moon Records already triggered an extraordina- ry response in the press, and the new one will certainly surpass that. Among other places, the Perrenoud Trio has scheduled performances in France, Switzerland and Germany, and another South American tour in 2014.

Marc Perrenoud was born as child of a family of musicians in Geneva in 1981. He already learned to play the piano when he was six and already won prizes as an adolescent. He later won the Montreux Chrysler Award and recently first place in the jazz prize awarded by Zurich Cantonal Bank. Contrary to many co- musicians, he has remained focused on a trio for many years and does not spread out his activities with parallel playing in various different bands. This concentration on the essential is what makes the sound of the trio he heads so fascinating.

Marco Müller (1980) also started his music studies when he was six, first on the violin. He graduated with a major in contrabass from Bern Art College in 2007. The fact that already could accompany Enrico Piera- nunzi or the New York Voices, for example, at a young age made him into a universal bassist; you can

especially notice this when he is playing with the exciting band from Switzerland “Hildegard Lernt Fliegen”.

Cyril Regamey (1977) also began to study music at pre-school age like his co-musicians. He loves everything that can be put to a beat. In addition to drum set, he plays other percussion instruments and plays not only jazz, but also African and Latin American rhythms and even classical music. His great range of styles is a big win for the trio, and his rhythmic ideas are a source of inspiration.

http://www.marcperrenoud.com