Artist Gallery Photo


Tue, Jun 23 -
Wed, Jun 24, 2020

$16.00 ($6 Handling Fee Included) All purchases are nonrefundable/nonexchangeable.

Tickets may be purchased on-line or by phone.
Night of show seating typically available.

Dimitiriou's Jazz Alley welcomes Delgres, debuting for two nights, their soulful Caribbean blues trio. Band members are Pascal Danae (vocals/guitar), Rafgee (sousaphone/tuba), and Baptiste Brondy (drums). Show times Tuesday and Wednesday at 7:30pm. Doors open at 6:00pm each night.

artist info

A Caribbean blues trio, a genre mainly sung in Creole nowadays, Delgres came together four years ago after Pascal met the drummer Baptiste Brondy and the sousaphone player Rafgee. They essentially represent a personal adventure, an inner journey for which music acts as the imaginary, although vibrant, vehicle of private experience and family history as well as, more broadly speaking, the destiny of a part of the world marked by its rootlessness and identity struggles.

A singer, songwriter, composer and musician, Pascal has a CV as long as a libretto and as rich and varied as the menu of a wedding banquet. Having worked with Peter Gabriel, Youssou N’Dour, Laurent Voulzy, Neneh Cherry, Ayo and Gilberto Gil, to mention just the most famous among them, Pascal has always known exactly where he stood in terms of his worthy career, which he describes on the song Vivre sur La Route. After garnering plenty of experience throughout his different lives in Paris, London and Amsterdam, he distinguished himself with a solo album in 2007 (London > Paris) and then won his first award with the Afro-Brazilian trio, Rivière Noire (Best World Music album at the Victoires de la Musique in 2015). He is thus fully aware of the value of working step by step and of small daily achievements. Working with Rivière Noire validated his quest for authenticity and reaffirmed his desire to pluck music up by the roots. As a member of Delgres, he has attained the even more gratifying goal of achieving perfect harmony between the emotional, historical and artistic dimensions of his personality.

Detailing the origins, Pascal explains; “It all began with a Dobro guitar. I was in Amsterdam when I first played one. The instrument and the feeling of being far from home, as well as the impression that I was at a crossroads between different professional pathways, led me instinctively to play blues music, a style I had already touched on, although indirectly, through jazz. The Creole I learned at home and sometimes used to sing was part of things from the start.” On returning to Paris, he decided to build on this experience with some like-minded friends.

For the whole of this odyssey through time and across the five continents, the Dobro guitar acts as an intractable rudder, and its unique sound brings a primal tone to the music, a veritable seed of life which has spiced up the best recordings of Hound Dog Taylor, to Taj Mahal and J.J. Cale in the past. Delgres provides an exhilarating new viewpoint on this legacy. Building on Pascal Danaë’s Caribbean touch, we have the powerful beat of Baptiste Brondy's drums and Rafgee’s reptilian bass lines on the tuba. The fascinating music they produce is that of a unique power trio, akin to the Black Keys and Hanni El Khatib’s work, somewhere between hypnotised rock, earthy soul and caustic garage. It is perhaps the final stage in the fertile Creole identity process, in which the philosopher Édouard Glissant believed he saw the promise of a new, less barbaric and more fraternal world.


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