About the concerts . . .
"Next to the leader Nathanaël who presents a large variety of playing techniques and whose sound is often strongly influenced by blues, Cyrille’s brilliant playing that reminds, specially in the solos, of Steve Swallow, with a very fine and well balanced sound, the rhythm section contributes, with a remarkable "retenue" in the harmonious and sound of the band"
(Salzburger Nachrichten - 11/16/96)
"The acoustic guitar in the hands of Nathanaël Briegel sounded in the melodic songs and subtle improvisations. From the very start the artist showed an exceptional control which is expressed as well in the delicate ballads, almost sensual as in the works of jazz-rock played with more ferocity. The dynamics of the concert was supported by a well-programmed dramaturgy of arrangement. We could feel a particular tension waiting for the following phrase. If we add to all that the perfection of the parts played by the saxophone and interlaced in the unit, it is easy to see the final result..."
(Super Nowosci - 11/25/97 Rzeszów - Poland)
"That evening they played ten original pieces like "Latin Dance, Voyage en Eaux Troubles, Grain de Sable", etc. The audience was delighted by their interpretation full of "swing" and also by the solos full of distinction of the bass and the saxophone that they lengthily applauded..."
(Hokkoku Shimbun - 05/07/98 - Kanazawa - Japan )
"They came with a jazz of fusion (blues, jazz-Latino, bop funk etc.) accessible to the inexperienced audience and extremely interesting for the advised listener and the musical critic ..."
(Symposium - 06/24/98 - Iasi - Romania)
"I incline myself in front of reality! the five young French, themselves also adept of ethno-jazz, proved to be very good technicians of their instruments, inventive improvisers, forming a homogeneous group with a compact, full and brilliant sonority, subtle in the nuances and the expression of sound (guitar, bass, tenor and soprano saxophone) maintaining the rhythm, sometimes exciting like hot funk, sometimes enveloping, with some lyrical nuances like a song created spontaneously. Attentive to what they play, also to the way they play, the French guests have made the proof of their respect towards themselves and also towards the audience - that made them come back on stage and let them hardly leave after the end of the concert".
(Monitorul - 06/24/98 - Iasi - Romania)
"Well inspired arrangements and a respectful handling of the music are the characteristics of that French band for who it was its premiere in Helsingborg last night, before an audience that has very much enjoyed their music."
(Helsingborgs Dagblad - 03/06/00 - Knut Johansson)
The concert in Växjö was the Scandinavian Premiere for the Briegel Bros. Band BBB plays a fusion of music.
Their rhythms are most often inspired by Latino American music but there are also elements from Spanish flamenco et Arabic folklore. The two skillful drummers, Jean-Marc Robin and Yvon Susini supported the music with intensity, flexibility and rhythmical gags. Susini, one of the best percussionist that I've heard was very much at ease between his congas and his bongos.
(Växjö Smalandsposten - 02/18/00 - Stig Jonasson)
(Est Républicain - 04/08/00 - Anthony Sap)
"Originality was the key-word for that concert where the enthusiastic audience could fully appreciate a music at the forefront of the new trends of Actual Jazz, (using skillfully Latin music, funk and blues), doubled with a remarkable (and remarked) performance by five musicians who don't have to prove themselves anymore."
(Dernières Nouvelles d'Alsace - 06/05/00 - Bruno Sporer)
"There aren't many words strong enough that could replace the outdated " beautiful" and "sensitive". Those qualities appeared in "Mas Cabanis" and Play Ballads, as well as in Blue Shades and Karabane.
The tunes (most of them belonging to Nathanaël himself), the imagination, the fluidity of the spontaneous melodies, the natural way of going by lyrical moments, to rhythm and expression heights, the cohesiveness of the band, the European touch's lyricism, the overall Latin music influences, their "dancability" impressed us."
(Monitorul Iasi - 06/26/00 - Alex Vasiliu - Romania)
About the CD's...
"The band succeeds in the tough bet that is to express himself into that binary jazz - attention, here is the word: Fusion - without making reference to the "jazz fusion furious", neither to the apathetic of "easy listening". No demo solos, but a very tight band whose influences (funk, Latin, etc…) are as many different colored touches that stains each composition without making it fall into one style or another…"
(Jazzman - June 1999 - Renaud Czarnes)
"The very homogeneous band uses the sophistication of jazz and the simplicity inherited from rock to transcend its fusional message. The lyrical sax of Philippe Leclerc and the immediate rhythmical efficiency of the pair J.M. Robin (drums) and Yvon Susini (percussions) taking care of the rest. Nathanaël and Cyrille Briegel have assimilated what they learned with major artists in Los Angeles and have obviously found a convenient formula that just might reconcile a very large audience with modern jazz, sorry for the purists".
(Républicain Lorrain - 06/03/1999)
"The flamboyant jazz of the Briegel leaves a large part and space to improvisation. Once again, the audience is invited to a journey fulfilled with groove and a change of scenery guaranteed. From the flamenco accents of "Mas Cabanis" to the "jumpy" Mister Freshy, this music doesn't need to over do to exist. With a large part left for improvisation, definitely funk accents, the BBB builds over a bed of strings an impressive palette of ambiances that talks without useless "détours" to our senses. The spontaneity of the writing cannot leave anyone indifferent. This music has for itself its subtle suggestivity."
(Est Républicain - 06/08/99 - Jean-Paul Germonville)
"From Nancy (where they are based) to Japan, the Briegel Brothers plays "party-poopers", confirming they are the top of the Lorraine iceberg as regards of general public jazz. In a rather festive register, the music of this combo eyes willingly towards funk dynamics and Caribbean rhythms..."
(JAZZMAN - January 2000 - Francisco Cruz)