1) What is your idea of swing? The swing, for me, is that impalpable thing that touches us deep within ourselves, in our heart, our body and that prevents us from remaining motionless.

2) Can jazz still be modern? If you want to talk about an evolution, a new jazz, new, in opposition to the old or the current, take of the present to create the future, as for example Louis Armstrong who left New Orleans to create classical jazz, or several evolutions in John Coltrane, Miles Davis ... Where we could easily identify its evolutions, I do not see such a creation in our time in jazz. There was something new, in harmony, voicing, phrasing, etc. It is difficult, in our time, given the number of musicians and the musical diversity, to know who makes things progress, it is quite contradictory when one thinks of the sum of musical information which one can accede now. It seems to create something mixing world music, styles, but I do not think there is a real creation identifiable nowadays in jazz, I have the impression that we do not only repeat itself. However, I do not want to lose hope.

3) Does jazz still embody an important aesthetic and political preoccupation? Another paradox. We have a multitude of media at our disposal, more and more festivals, places to play ... But we are less and less listened to. Many artists have an aesthetic and political preoccupation, but there is such economic and social pressure that everything is diluted, perhaps we have become too individualistic. Jazz musicians are no longer a minority group, a "family", as in the past, we are too many, everyone thinks of his survival and comfort above all. There are more and more people who make music, painting ... as an amateur to have fun on weekends. They do not necessarily have an aesthetic and political preoccupation, they want to get out of the straitjacket of this material world (I understand them) and that's good, but it's also the gateway to mediocre art, such as exhibitions of Sunday painters who think they are real artists. Yes, I think that for some jazz musicians there is still a real aesthetic and political preoccupation, but each one at home, so that the importance is reduced; but it's not because we're interested in politics that we make the best music, right?

4) What is the role of the jazz musician in 2006? The artist's mission is to anticipate what is happening, to be visionary, to have a view of things that goes beyond the reality in which he lives. For me there are two kinds of artists, one makes things happen by undermining the ideas received at the risk of shocking: the avant-garde. The other kind is part of the common reality, proposes something conceivable and brings the audience to a higher level of aestheticism and artistic evolution. We are in great need of both today.

5) In what place do you dream of playing? ​​​​I would like to tour all over the world, play for all people, know the reactions of a Chinese in China, an African in Africa ... Playing in front of a huge audience must be rewarding enough, but play in small The committee is just as attractive. I heard about home concerts, people playing, in an apartment, a farm, etc., between the TV and the fridge, between the barn and the tractor. I think that no matter what music you do when you play it with your heart, everyone can be touched and seduced. It was a great pleasure to repeat with the SVO in the workshop of my grandmother (93 years), she sat close to me and I saw the rapture that gave him the music.