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06

March, 2025

Text: Yves Tassin / Jazzmania

Photos: Julia Gat & Robert Hanssene

Adèle Viret has recently been interviewed for the release of her debut album Close to the Water. The Franco-Brussels cellist reveals a little more of herself in this IWD (International Women’s Day) meeting.

Jazzmania: We already spoke about the album Close to the Water in an interview published in October. We’re now going to take a closer look at your personality. But first of all, how is your first album doing?

Adèle Viret: Well, the feedback from the press has been very positive and the public seem to like it too… So, I’m very happy about that.

I enjoyed attending the concert you gave in Liège with your quartet. It sounded like a real group effect. It was not necessarily Adèle and her quartet, with each musician in his or her own performance space… Was this a deliberate choice, or does it come naturally to you?

I think it’s quite natural, at least with this quartet. We had worked together and I wanted everyone to have the right to decide, especially during concerts. The other projects in which I am involved, whether Mosaïc or Medinea, are collective projects. We make progress by exchanging ideas, with everyone making suggestions. Well I guess I feel most comfortable in this system.

Now let’s talk about you in more detail… What are your earliest musical memories?

It’s no easy question. Perhaps this memory is blurred / distorted due to the fact that the video was shot when I was four years old. On this recording, my father offers me a cello. And that’s the reason why I went on to play this instrument. In fact, my father (Jean-Philippe Viret – Editor’s note) was playing with five other double bass players in a group for which he had written a song for me, because I had trouble falling asleep. The track was a minor hit, and a video was shot. But I don’t particularly remember the filming. I only found out later…

Your dad is a professional musician. Could you plan a career outside music? Did your father ever encourage you to follow this path?

Yes, and he has always made it possible. I’ve never felt like I was forced to make music, there was no pressure. He ìs opened doors for me, with the idea that it would be possible if I felt like it. So, the influence arose naturally. I have played the cello from the age of eight or nine and I was then convinced that I would make a career out of it.

Even though it’s a relatively unstable profession, and you can go through hard times?

There was, of course, a period of reflections in adolescence. I wondered whether I should invest myself completely or if I really felt like going on.

Your dad plays the double bass while you play the cello. Is it a way of gently  standing out?

When I started playing the cello, I couldn’t tell the difference between the two instruments. Then, the cello became an obvious choice for me. As far (back) as I can remember, this instrument has always been part of my life. (…)

Your quartet includes your younger brother Oscar, who plays the trumpet and sings beautifully. Was it an obvious choice for you, to the point of composing music and having his participation in the project in mind?

Not at all. In fact, I composed the repertoire for the record before I knew which musicians I was going to work with. These songs CAME NATURALLY. In fact, we started out as a trio. I first proposed the songs to Wajdi Riahi and Pierre Hurty, but I quickly realised that something was missing and that we needed to go to four musicians. And that’s when my brother’s presence became so obvious.

You’re only twenty-five years old, yet your music is already very mature.

When the quartet was born, just after the pandemic, we spent a lot of time searching. We rehearsed over two years before giving our first concert.This was my requirement, while the other members of the quartet were impatient to take the next step. But I knew where the bar was that I had set for this repertoire.There was no question of me going any further until we had reached that goal. I was a bit stressed but I held OUT. And we were ready the first time we performed in front of an audience. Since then, we’ve been improving, gig by gig.

You have been willing to make sacrifices to progress in music, including moving to Brussels to continue your studies at the Conservatoire. Would you advise young musicians to embark on this adventure?

I don’t know… Probably not. Let’s stop saying: “This is the right method, this is the way to go”. The method I chose was perhaps the best suited to what I wanted to achieve and become. Above all, I know that each musician has to listen to himself and follow his own path. Well, personally, I didn’t go to the Conservatoire for jazz. I had learnt a lot from my father and from the musicians with whom I share projects.

As well as the musicians in your family, there must have been other important meetings, Fabrizio Cassol or Magic Malik, for example.

Yes, certainly. These two people have been very important to me, especially in terms of the confidence they gave me. I met Magic Malik at a master class in Montreuil. He then invited me to join him on stage for a project he was putting together with bassist Hilaire Penda. As for Fabrizio, he got me involved in the Medinea project (an album has just been published by Fuga Libera – see our article on Chronique Jazzmania). We met again when I arrived in Brussels. He asked me to join him in one of his projects for the Klara Festival. I’ll be there as an assistant artistic director, so to speak (a concert to be held in Brussels on 22 March). Fabrizio gives me the opportunity to do things I wouldn’t have imagined. It helps me move forward and gives me confidence.

When you’re on your own, what kind of music do you like to listen to?

[laughs] Unfortunately, I don’t have much time to listen to music at the moment. Things are going so fast ! I miss it. I’d like to take the time to discover new things. When you come out of a day that’s already been entirely devoted to music, you want to do something else.

What kind of music could you listen to? Rap, for example, like a lot of young people your age?

No, rap’s not really my thing… Actually, I generally listen to the other projects put together by the musicians I work with. Mostly jazz. Well, I mainly discover things by going to concerts.

Like the sounds of London’s New Jazz, for example?

No, not really, I stick to the scenes around me, in France, in Belgium, or in Portugal, where I am regularly invited by musicians from the Lisbon scene for concerts and projects, and the Netherlands as well. But I also like some Brazilian music, which is completely different, just for the sheer pleasure of listening.

Now, let’s move on to the section devoted to the International Women’s Day. You ìre a young musician working in jazz, which is a very male-dominated field. How do you feel about that?

As far as I’m concerned, it’s a bit ambiguous. When I was younger, I felt rejected for a long time. I didn’t feel I fitted in. I wondered if it wasn’t because of the instrument I was playing. The cello is a special instrument, not very common in jazz, even if things are changing a little bit…So much so that I can’t say whether I felt excluded because I’m a woman or because of the cello… Things are very different for a double bass or drums, which are virtually indispensable jazz instruments. That’s the reason why I set up this quartet, to compose my own repertoire for the cello. It might encourage leaders to include me in their groups.

Indeed, we’ve seen cellos in some very fine projects, such as Le Cri du Caire and Naïssam Jalal’s performances …

Indeed, it’s more common. When I was younger, I didn’t get into the jam circuit either, because the instrument didn’t lend itself to it. And I’m not particularly interested in playing standards with a cello. To put it in a nutshelI, I didn’t fit into the traditional boxes. But, generally speaking, it’s fair to say that there are more and more women in the jazz world.

A French musician and Ondes Martenot player, Christine Ott, once told me that she felt distrust. She said that when it came to composing, she had to “prove herself” more than a man. What do you think about that?

Well, I think she’s right. But I also believe that this is the case for many other professions. It’s not just music…

Este artículo se publica simultáneamente en las siguientes revistas europeas, en el marco de “Groovin’ High”, una operación para destacar a las jóvenes músicas de jazz y blues : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) y Donos Kulturalny (PL).

This article is co-published simultaneously in the following European magazines, as part of « Groovin’ High » an operation to highlight young jazz and blues female musicians : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) and Donos Kulturalny (PL).

#Womentothefore #IWD2025

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05

March, 2025

Text & Photos: Jazz’Halo

After Adia Vanheerentals (26) graduated on soprano and tenor saxophone from the jazz department of the Antwerp Conservatory, she was selected by Klara Radio as a promising musician for the fourth edition of the radio programme ‘De Twintigers’ in early 2024. In the process, she received air-play and visibility via VRT Max. With her own band Bodem (with Anke Verslype and Willem Malfliet), she released the debut album ‘Kleine Mars’ on Nicolas Rombouts’ new label Mokuhi Sonorities in 2023. This was followed by performances across the country last year, including at Jazz in’t Park and the European Jazz Conference in Ghent and the Jazz Middelheim launch event in Antwerp.

Adia Vanheerentals has been playing sax since she was 9 years old and discovered jazz through her aunt Véronique who runs the bistro ‘Take Five Minutes in Paris’ in Antwerp. The first jazz record she remembers was ‘Women In Jazz’ featuring Nina Simone and Ella Fitzgerald, among others. In art college, she took lessons from Tom Van Dyck and as a result started listening to jazz more consciously: Branford Marsalis, Michael Brecker, Dave Liebman, but Steve Lacy is still and by far the one her heart goes out to.

At the conservatory, she took lessons with Kurt Van Herck and Ben Sluijs, among others, in a final period alternating with Frederik Leroux. That was a different approach to music in general which she tackled after a temporary break from the conservatoire.

Jazz’Halo: What made you decide to temporarily quit your studies?

I didn’t feel so resilient then. I swallowed the criticism, but continued to struggle with it. As a result, I decided to temporarily leave my sax aside for a while. I then started composing to figure out for myself what kind of music I wanted to make myself. I have little feeling with traditional jazz. For me, that is something from America and from a distant past. I don’t really know how to deal with that. I really needed to follow my own path, to express myself in my music. It feels so much easier to make my own music than to reach for music from a hundred years ago.

How would you describe your music? 

I think my music definitely has a lot to do with jazz, because it always involves improvisation, but within a clear framework. That framework consists of personal ideas that I start to work with on the piano, sing to it, intuitively find a melody over a harmony, until something beautiful emerges. I keep improvising until it all adds up, until it sounds circular. I’m not a fan of complicated time signatures or difficult intervals. It has to be off the cuff, then it’s perfect. What the exact sources of inspiration are is hard to determine, because I listen to so many kinds of music. That comes together when I sit at the piano. I write as I empathise with music, I want to create personal music from within myself. What I write may not always fit what is understood by jazz, but how to describe it however, I wouldn’t know.

Who do you see as influences or role models?

Very early on Steve Lacy. I prefer playing soprano saxophone myself and with Lacy a whole world opened up to me, from traditional jazz, classical to free, especially Monk and modern jazz. I find German-born but New York-based Ingrid Laubrock impressive on both soprano and tenor saxophone. She gave a master class at the conservatory and writes original compositions where she tries to approach standard jazz in a different way. Who I also admire is Icelandic saxophonist Óskar Guðjónsson, which is mellow folk-like jazz. In the contemporary scene, British saxophonist Shabaka Hutchings stands out, who temporarily quit Sons of Kemet and playing saxophone, who also influenced me.

How did you form your own trio Bodem?

In my 2019 sabbatical year, I made a list of musicians my music would sound best with. That included guitarist Willem Malfiet and drummer Anke Verslype. What appeals to me is that they are both concerned with sound rather than virtuosity. That hyperfocus on sound is what I find strong and what defines my trio Bodem. I didn’t know Anke personally at first, who was busy with her project Aki. She was open to new projects, though. Willem I know through mutual friends. The first Summer after covid broke out, he had received a budget to make an album with musicians in Volta, a music centre in Molenbeek. In doing so, he invited me. Unlike the first album ‘Little Mars’, for the latest Bottom album ‘Lush and Alive’ we took more time in the studio and worked with overdubs to make the trio sound even grander.

You give your compositions special titles: ‘Bosaardig’, ‘Fluiting’ ‘Tranende Meneren’…

For the new album ‘Lush and Alive’, I waited a long time before making the titles. I first wanted English titles, but I thought less in that language, so I chose half of them in Dutch. I often think in associations, I listen and imagine things. There is always the composition first and only then the title. With ‘Bosaardig’ (forest friendly), for instance, I had to think of nature. I thought that was a funny word, as I came up with ‘Parkelen’ in a previous album, a bit Nature Point-like. With ‘Tranende Meneren (Gentlemen in Tears)’, it’s about a mourning song. I didn’t want to make that too explicit about it. I prefer to leave it to the listeners to imagine something for themselves.

How do you approach it live?

At the Singel Antwerp, we will go into residency on March 22 to try out a few things live. As ‘Lush And Alive’ was recorded with overdubs, it will be a matter of finding out how we convey that live. In any case, we won’t be playing with effects. We want to keep it as open as possible. I do want to keep the jazz feeling, letting it happen in the moment. I decide the setlist but apart from that we aim for musical freedom. We do invite visual artist Joris Perdieus to the residency. While making music, he provides projections on ourselves, which we take with us into the JazzLab tour.

In addition to Bodem, you will be active with other projects…

Solo, I released a single LP with Ultra Eczema , ‘Here Are 5 Reasons To Meditate’, free improv. For the New York based label, Relative Pitch Records , I am writing for a solo saxophone album. Last year I had a residency with Waarlijk at Rataplan Antwerp and that will get a follow-up at Schouwburg De Kern in Wilrijk on 27 April. On that Sunday afternoon, I will perform several acts. With Waarlijk I introduces a new quintet together with Hanne De Backer on saxophone, Gregory Van Seghbroeck on sousaphone, João Lobo on drums and Fien Desmet on vocals. As in Rataplan, I want to encourage the audience to experience the music with dance and interaction. I have also invited classical pianist Maya Dhondt for a solo performance. And Frederik Leroux and Ruben Machtelinckx will present ‘Poor Isa’. A fourth act is still a surprise at the moment…. These are projects that start from within myself. I still play together in a trio with violinist Elizabeth Klinck and pianist Maya Dhondt , classically trained musicians. That’s chamber music in which I improvise on sax. And completely rooted in jazz, I accompany jazz singer Anaïs Vijgen , swinging in quintet. 

Do you have any particular dreams?

I hope to be able to play across the language border with Bodem, which is still not to be taken for granted. And if we break through in the Benelux first, then further conquer Europe. With Waarlijk, I will continue as a band and want to play out the dynamic Brass Band effect more in interaction with the audience. Jazz concerts tend to be rather static, the stage on the one hand, the audience on the other. I want to break that. By the way, I’m not very good at big dreams. Sometimes people come my way, like Fire! Orchestra , Mats Gustafsson ‘s orchestra with Johan Berthling and Andreas Werlin . These are musicians in my line of thinking that I really dream of playing with. Another one I look up to is Ambrose Akinmusire. Another special experience was playing at the Brand! Jazz Festival (Mechelen) in November 2024. Because Cel Overberghe was unable to come, I spontaneously formed a trio with Hanne De Backer and Ornella Noulet , which was 40 minutes of pure improvisation, super cool!

Do you want to pursue a particular vision?

There is a tendency to transform your identity into music, that you create from a certain origin. I find the activist nature interesting, which is how Isaiah Collier appeals to me. Also what Max Roach and Abbey Lincoln pursued. That really does belong in jazz, but that’s not my reality. I have African roots, of course, but I was born and raised in the heart of Antwerp. And yes, I am a woman. But that doesn’t determine how I think musically. Although a feminist statement sneaks in at times. I seek my own vision in my living world here and now as a free improvising musician. I think my music is quite accessible. And with my trio Bodem, I am also being programmed outside the jazz world, then hopefully I appeal to another even wider interested audience.

Este artículo se publica simultáneamente en las siguientes revistas europeas, en el marco de “Groovin’ High”, una operación para destacar a las jóvenes músicas de jazz y blues : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) y Donos Kulturalny (PL).

This article is co-published simultaneously in the following European magazines, as part of « Groovin’ High » an operation to highlight young jazz and blues female musicians : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) and Donos Kulturalny (PL).

#Womentothefore #IWD2025