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Daniel Malavergne, Patrick Vaillant and Manu Théron Chin Na Na Poun (daqui) Electric mandolin, vocals: Patrick Vaillant Tuba, Marching baritone : Daniel Malavergne Vocals, Percussion: Manu Théron Listen: Plarteu Maruzzella Chin Na Na Poun

More info: Daniel Malavergne, Patrick Vaillant and Manu Theron look at the work of Victor Gelu, legendary songwriter and poet of nineteenth century Marseille. His words, raw and sometimes violent, come from a world that industrialization suddenly plunged into uncertainty. It is a whimsical, turbulent, Baroque and talkative, as Gelu depicted using cartoons that refer to both the Neapolitan farce and melodrama. To evolve in this universe, drawing enthusiastic musicians in popular music of the nineteenth century or today. Tuba, mandolin, percussion and vocals walk bluntly over the songs, which sometimes arise from unforeseen musical references, like walking down a busy street. Not a recreation or vain modernization, they try to join the human dimension, both grotesque and poignant, to portray a poet of the people in a musical cabaret. From the musical point of view, Patrick Vaillant, Daniel Manu Theron Malavergne and chose all the songs, composition and arrangements are the result of a trio, to varying degrees, but not intractable spirit even pieces is the result of a combination of three musical worlds: that of Daniel, the show that gives many references to improvised music to the world of burlesque theater (very present in Poun Chin Na Na), and music in motion they come from the street, circus, band of miners in the Grand-Combe or conservative as Manu Theron, which is under construction in the show, uses what he knows of the song urban of the XIXth century, in Italy or France, and a personal way to transcribe. Increasingly in the show, he tries to stick to the narrations, to embody not only vocally but also in gestures, facial expressions and the spoken-sung, a task that was foreign to him previously, that of Patrick borrows music popular Mediterranean city directories (since the late nineteenth century until today), and detangles with great finesse and a lot of spirit which binds us to those worlds, which can affect us and we even striking in their imagery abrupt, sometimes wild and in evocations of light that left Gelu.

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