Category: Mandolin Project 2026 (Page 1 of 2)

“L’homme gris” (The Grey Man) written by: Philippe Fontalirand, performed by Philippe Fontalirand (mandolin: Collings NT2), Jack De Almeida Fourré (Guitar: Dana Bourgeois), Sébastien Farges(double bass), André Derennes (banjo: Stelling Staghorn), and Hervé Lelou (fiddle: Collin Mezin, 1932).

“L’homme gris” is a composition created about twenty years ago within the group Bluegrass Factory, featuring Hervé and André (along with Paul Delhumeau on guitar and François Garotte on double bass).
https://www.youtube.com/watch?v=LPoBaZaJ72w
This tune is a tribute to David Grisman, who has been an inspiration to Philippe Fontalirand for years. The staccato chords are in the spirit of “Fish Scale” composed by Artie Traum and interpreted by The Grisman Quintet (1977).
Philippe Fontalirand (mandolin) wanted to bring this song back to a new life. To that end, he brought together his regular bandmates from the “Sweet River Band” (YouTube Channel: https://www.youtube.com/@SweetRiverBand):
Hervé Lelou (fiddle) and Sébastien Farges (double bass), along with other friends: André Derennes (Stelling Staghorn banjo) and Jack De Almeida (guitar).

Philippe Fontalirand (mandolin) : He began playing guitar in the style of Marcel Dadi in the 1970s. Later, he took up the mandolin after hearing Mick Larie. He then learned to play the violin and performed at Irish music sessions in Nantes. He has played with Bluegrass 44, County Line, Keep On Sunny Side, and Bluegrass Factory. Since 2011, he has been performing an “Americana” repertoire with the “Sweet River Band”
(YouTube channel: https://www.youtube.com/@SweetRiverBand)
with Hervé and Sébastien alongside Claude Cordina and Patrick Couton..

Sébastien Farges (double bass): He first played guitar with the band Télex, then banjo with the Jazz Bond. He has been a gypsy-style guitarist since 2004. He began playing the double bass in 2013 to join the Sweet River Band.
https://sebastienfarges.wixsite.com/sweet-river-band

Hervé Lelou (fiddle) : He began playing the guitar and mandolin at age 10, then took up the violin at age 18. He has played in the bands Sunny Side, Bluegrass Factory, Cabine 12, Sweet River Band, and Niglo Swing. Today he plays in Sweet River Band, Western Cooking, and String Fellows.
(YouTube Channel: https://www.youtube.com/@hervelelou2993)
plays with Ziarmorikains (https://youtube.com/@ziarmorikains205)

with Western Cooking:

with An Other Grass Quartet:

André Derennes (banjo): Although he’s still young 😁, he’s been playing the banjo for 50 years – Bands : Bluegrass Factory, Blue Beans, Plum Boogie, After Midnight (since 1984), Two Days (2000 – 2017), Morgane G (since 2021) and with Two Days Revival :

Jack De Almeida Fourre (guitar)
(https://www.youtube.com/@jackdealmeidafourre7649)
At the age of seven, he performed on stage for the first time and recorded his first song at Acadina Studio. He then met several well-known musicians (Paul Personne, Bernard Madelin, Gilles Pellegrini), who have supported him throughout his artistic journey over the years. For the past few years, he has been touring France as a singer-guitarist alongside Morgane G.

André & Jack with Morgan G.

Video recorded and edited by Thomas Couton
(https://m.youtube.com/@thomstudio)

“Tapis vert sur mur blanc” (Green carpet on a white Wall) – written by: Pascal Ayerbe, performed by Pascal Ayerbe (Ellis F5 Special mandolin) & Guillaume Scouarnec (Northfield Big Mon)

Pascal Ayerbe said: “The title “Tapis vert sur mur blanc” comes from the cover I had in front of me during the recording. A psychologist might say there are strong similarities to the colors of ping-pong tables—a sport I actually play quite a lot. As for the music itself, it also seems to me that the two mandolins are passing the ball back and forth…”

Pascal Ayerbe composed his first musical pieces on a synthesizer around the age of 14, then trained as a sound engineer. It was at Radio France, where he held his first job, that he decided to record sound collages using everyday objects.

This playful approach first earned him recognition within the Maison de la Radio through the “Chasseurs de sons” competition, and then with a wider audience thanks to his debut album, “Les Gribouillis“. His compositions for toys, objects, and noisy instruments are still used today by performing arts companies (object theater, circus, puppetry), musicians working in educational settings, therapists, and others.

Alongside his recording work and radio productions, his artistic calling draws him to the stage. He creates performances and concerts that are primarily instrumental, featuring handmade instruments, collections of sound-producing toys, or repurposed objects. He is accompanied by musicians, including Jean-Baptiste Tandé, Johanne Mathaly, and Martina Rodriguez… These works have been performed more than a thousand times, both in France and internationally.

Always willing to push the boundaries, he didn’t hesitate—for what would become his final project, *Léger comme une note*—to take up instrument-making: he crafted the instruments he played himself, in order to achieve the sound he loved. Among them is a monoxyl mandolin, carved from a single piece of wood.

This small instrument would become his constant companion. He continued to craft them for several years in his workshop before giving up instrument-making to devote himself entirely to music. Today, Pascal Ayerbe continues his career as a mandolinist.
With Yellow Trio, a project that has since ended:

An other composition for mandolin:

In the past:

Guillaume Scouarnec is a mandolinist and guitarist on the French bluegrass scene. After training in jazz guitar, he fell in love with the mandolin upon discovering Tim O’Brien’s music; it gradually became his primary instrument. He plays in bluegrass bands (he accompanies guitarist and singer Alex Riey in his quintet and plays mandolin with the bands The Left Hands and Rachel Road) while continuing his career in the jazz world, notably with singer Constance Arnaud. Committed to keeping bluegrass alive in France, he organizes jam sessions in the western part of the country and leads workshops, such as those organized by the Sawmills Sessions in Paris.

Mandolin Project 2026

Calypso Mando, written by: Thierry Lecocq – performed by Thierry ‘Rooster’ Lecocq (mandolin, violin, guitar, bass), Laurent Roussel (percussion, audio & video recording)

Trinidad and Tobago, Caribbean Music – About “Calypso mando”, Thierry said: “I had started recording this piece on the guitar, but I ultimately adapted it for the mandolin for this project. I have always enjoyed a wide variety of musical styles —particularly those from South America, which are incredibly rich. I’ve had the chance to travel there and be influenced by the people I met”.

My earliest influences: My parents were very open to the arts in general; my mother played the piano, sang, wrote poetry, drew, and danced. My older brother was a good guitarist and taught us the basics; he then got a banjo to play in his band and brought home the album Banjo Paris Session (No. 1). I immediately loved those different vibes and that laid-back tone, which I might not have found in more traditional bluegrass. Shortly afterward, Bill Keith and Jim Collier performed at the American Center in Paris with Kenny Kozek, Christian Séguret, and Lionel Wendling. It was a superb concert: the vocals, the solos, a very varied setlist with a few slightly jazzy tunes, Bill Keith’s humor, and the atmosphere in the audience.

As for me, it was the usual story: I started playing with a friend; we found opportunities to perform for a local audience; we wanted to round out the band; a guy showed up; I already had a mandolin, but I’d also started playing the violin; he said to me: “I’m already in a band, and we’re looking for a violinist—come to the next rehearsal; we’re planning to go play in the United States.” I was 17, and we went there the following summer, in 1983. I went back several times after that; we got to meet all the big names—it was incredible, of course. I continued to play in bands and, little by little, with other great artists in a wide variety of styles, both in France and abroad (Europe, Africa, Asia, the Pacific)—I really enjoyed recording CDs with my bands. I released a second solo album last year, Radio Station.

Blue Railroad Train ( James Field, Jean-Marie redon, Sharon Lombardi, Thierry Lecocq) at the Mirande Festival, 2011.

New Step In Grass (Strasbourg, 2012: Jean-Paul Distel: guitar; Thierry Lecocq: mandolin; Laurence Gondet:double bass)

Mandolin Project 2026

“Diffraction”: written by: Marie Clemence
Musique du jour: Marie Clemence (mandolin Hervé Coufleau) & Dorian Ricaux (mandolin Wayne Henderson)
Sound & Mixing: Dorian Ricaux
Video & Editing: Marie Clemence

“Diffraction” is a whirlwind of emotions built on repetitive music, in which two voices echo one another in a sonic game of nested perspectives (“mise en abîme”).

1. Marie Clemence and Dorian Ricaux Meet: The “Musique du jour” Project

The duo of Dorian Ricaux and Marie Clemence was formed during the 2013 edition of the La Roche-sur-Foron Bluegrass Festival. Their musical style lies at the intersection of bluegrass, jazz, classical music, and “new acoustic.” They offer a multifaceted musical world that combines compositions and arrangements for a wide variety of stringed instruments, particularly the mandolin and the guitar.

Musique du jour Youtube Channel:
https://www.youtube.com/@musiquedujour2867

2. Marie Clemence

She followed a traditional cursus that eventually led her to explore new horizons: a classical music program at the CNR in Bordeaux (France), followed by studies at the Conservatoire National Supérieur de Musique in Paris.
She then set out in search of new musical horizons that would fulfill her desire to play music that brings people together. After several years of teaching and practicing music, she discovered bluegrass music through an online radio station, drawn to its collaborative and festive spirit (jams, festivals). She is a multi-instrumentalist (guitar, mandolin, double bass, banjo, organ) and performs in several groups ranging from duos to quintets, within which she develops an increasingly personal style influenced by her tastes in jazz, progressive bluegrass, folk, and, of course, classical music. She composes, performs in various ensembles, and teaches music at specialized workshops.

3. Dorian Ricaux

Educated in a family of musicians from Normandy (France), he was immersed in bluegrass from a very young age. He taught himself to play the guitar and mandolin as a teenager while studying to become a certified public accountant. After settling in Lyon, he became a central figure in the French bluegrass scene. He has toured Europe with several bands (Ben Somers String Band, Hickory Project with Anthony Hannigan). He is active in education and the socio-cultural sphere with the “Itinéraire Bis” company, leading workshops on music outreach, urban instrument-making (instruments crafted from recycled materials), and master classes.

“Rêverie matinale” (Morning Reverie) written by: Daniel Portalès
Catch The Goat: Hannah Al-Kharusy (Cello), Daniel Portalès (Mandolin), Patrick Portales (Mandocello).

Daniel Portalès plays a 2018 Jean-Marc Perrin F5 mandolin (France).
Patrick Portalès plays a 1915 Gibson K1 mandocello.
Hannah Al-Kharusy plays a 1998 Mercello Cigna cello (Chile).

“Rêverie matinale” (“Morning Reverie”) is a composition by Daniel Portalès, A burst of morning inspiration, with the idea of ​​composing for a trio consisting of mandolin, mandola, and mandocello. The mandolin’s melody—the “reverie”—is grafted onto the solid foundation provided by the mandocello. The cello gradually enters to offer support, ultimately enveloping the melodic conclusion.

Catch the Goat is an acoustic music trio based in southwestern France. The group offers original compositions and arrangements that combine the energy of bluegrass and the complexity of jazz with the precision of classical music and Celtic influences. The Lineup consists of Daniel Portalès (mandolin, mandola, mandocello, vocals), his brother Patrick Portalès (guitar, mandocello, violin), and Hannah Al-Kharusy (cello, vocals). They performed to great acclaim at the “Bluegrass in La Roche” festival in 2026.

Playlist de Catch The Goat on the fretdreamer’s youTube Channel

Hanah Al-Kharusy was born in Kalamazoo, Michigan (USA), to an Omani father and an Irish mother. She played her first notes on a mandocello as part of a mandolin orchestra. She later pursued formal musical studies in cello at Grand Valley State University, where she studied classical music from 2010 to 2014.
Later, Hannah settled in the Lot department (South West of France), having fallen under the spell of the region.
Her affinity for rock and world music led her to broaden her musical experience by collaborating with various bands and artists (Goodbye Jupiter, Taisen, Juan Garcia Rios, etc.).
Her meeting with Patrick Portalès in 2024 led to the formation of the group Catch The Goat.

Patrick Portalès began his journey on the guitar, influenced by the Legendary guitarists Marcel Dadi and Chet Atkins. A multi-instrumentalist (playing violin, mandolins, and guitar), he discovered bluegrass through the album “Long Distance” in 1977, while also maintaining a strong interest in jazz. In the early 1980s, he founded the trio Anouman alongside Bernard Minari and Yves Rossignol (who is also involved in this current project).

Daniel Portalès began playing music at the age of 13, starting with bass and guitar. Three years later, he turned to the mandolin, which became his instrument of choice. After studying American popular music in the 1980s and playing in various bluegrass bands, he formed the jazz-influenced trio “Mondo Mando” in 1992 with his brother Patrick on guitar and bassist Akim Bournane. He contributed to the soundtrack of Manuel Poirier’s film “Western,” composed by Bernardo Sandoval. He recorded his first album, “Voyages,” in 1999, with contributions from Serge Lopez and Jean-Luc Amestoy. In 2000, he joined the Toulouse-based band Kass Kass and recorded the album “Tela” in 2001. His second album, “Esquisses,” was released in 2004. It features a repertoire of original compositions where the mandolin, with delicacy and sensitivity, captures fragments of life. In 2004 and 2005, he participated in several film concerts (Tokyo Kids, Volver, Gris) with the Terre Nomade association.
Daniel Portalès’s You Tube Channel:
https://www.youtube.com/channel/UCIUXJvSyltbv0r_rwUdIDaA
He regularly plays with the musicians of Choro Toulousain, a Brazilian music group he particularly admires. He plays also in “Mando Duo” with Bernard Minari. (à venir dans ce projet).

Table of content: Mandolin Project 2026

Jean-Marie Redon: mandocello, bouzouki ; Sharon Lombardi: Mandolin, bodhrán, e-Bass

Instruments used for these recordings

Jean-Marie plays a Dominique Bouges mandocello. This instrument is one of the first made by Dominique. Since then, he has settled in Burgundy, where he has continued to produce mainly guitars and host lutherie workshops. The bouzouki used on “Phosphène” is a Marc Boluda, a luthier based in Provence who is renowned in Celtic music circles for the quality of his stringed instruments. On “Oh’ Jamais Trop Trad“, Jean-Marie plays another bouzouki. He had been looking for one for a long time and finally discovered a luthier living just twenty minutes from his home: Jérôme Relhié, who specializes in making mandolas and bouzoukis. Furthermore, Jérôme has extensive experience in Irish music, which he plays on the mandola. Jean-Marie and Sharon became good friends with him, and they regularly get together for Irish sessions at home.

Sharon plays an Agustín Zubiaga mandolin. Agus, based in Bilbao, plays bluegrass banjo and is a longtime friend. He makes high-quality mandolins and banjo necks. Jean-Marie thought a Zubiaga mandolin would make a wonderful birthday present for Sharon. She plays a bodhrán made by François Nicolas, who is based in Brittany. François is highly respected and well regarded in the world of Celtic percussion. Her electric bass, an unusual blend of a Jazz Bass and a Precision, is a Valley & Blues model.

The stories behind these titles.

“Phosphène” Jean-Marie first recorded this composition on the album Banjo 82, in 1982, as its name suggests. It was covered by the Scottish band Bongshang in 1993. Later, Jean-Marie recorded it again with the eponymous band in the late 1990s. In fact, he drew inspiration from that recording’s arrangement to make this video, adapting it for our instruments: mandocello and mandolin.

“Oh’ Jamais Trop Trad” We felt the need to add a more uptempo track after “Phosphène”. We needed to compose an original piece in the spirit of Irish music… and it turned out to be a jig.

After many years spent playing bluegrass, and given that there were no longer any musicians around us interested in this music genre, we naturally turned to Irish music, and we take great pleasure in discovering and playing it.

Table of content: Mandolin Project 2026

“New Spirit of Suwannee” is a waltz composed in August 2026 by Christian Séguret and Olivier Andrès. The piece was written for a project involving background music for the company Sync’ Up, for which the two musicians work regularly. The track was adapted and re-recorded for this mandolin-focused event launched by Denis Phan.

The title of this instrumental piece reminds us of an earlier waltz written by the two musicians some thirty years ago for the album Massoubre et Séguret-Guitares, released by Silex in 1994; “Spirit of Suwannee” refers to a well-known theme park located in Florida. Both instrumentals share an acoustic atmosphere inspired by bluegrass, a harmonic structure that differs slightly from the genre’s standards, and a slow waltz tempo that Christian particularly favors.

This piece is performed by Olivier Andrès on double bass (German-made, early 20th century) and Christian Séguret on guitar (1942 Martin D-18) and mandolin (1926 Gibson F-5 “Fern,” serial number 83233).
https://www.youtube.com/watch?v=aENFtoSZEzk

The mandolin used by Christian Séguret on this track is a highly reputed instrument. It is an F-5 model built by Gibson in Kalamazoo, Michigan, serial number 83233, built in 1926, and adorned with the famous “Fern” inlay on the headstock. The mandolin belonged for many years to Ralph Rinzler, a mandolinist with the Greenbriar Boys, who later discovered Doc Watson, served as Bill Monroe’s manager, and worked as a musicologist at the Smithsonian Institute.

Known as “The A. J. Polin Mandolin,” named after its first owner (engraved on the truss rod cover), or as “The Rinzler Fern,” it has had an eventful history. Ralph Rinzler purchased it in 1963 for $350 (those were the days) near Chicago. Between 1963 and 1965, Bill Monroe—whose manager Rinzler was—used this mandolin at every concert to play the song “Get Up John,” which required a specific tuning that his banjoist, Bill Keith, was responsible for setting before each performance.

Monroe also used the mandolin in his video recorded for Homespun Tapes in the 1990s. Rinzler played this instrument regularly until his death in 1994. The mandolin was once theft from his home and returned by the police a few months later (a police report is included in the case). After his death, the instrument was purchased by the Austrian mandolinist Helmut Mitteregger, and then by Christian Séguret in 2002.

Olivier Andrès and Christian Séguret have been collaborating for nearly fifty years and share several common threads in their careers. They were long-time members of the French bluegrass band Transatlantic, then went on to play in the bands of Sanseverino and Hugues Aufray, and have composed and recorded numerous albums together as well as nearly 500 tracks of background music for Universal and later for Sync’ Up.

Table of content: Mandolin Project 2026

Mandolin Project 2026 – “The Carrot’s Retreat” -written by Thierry Schoysman, and performed by Table for two (Thierry Schoysman, Signe Borch)

Thierry Schoysman plays a Kentucky “Dawg” mandolin, built in 1985, #85831.
This model is based on a John Monteleone design. At the time, David Grisman had related his “Dawg” nickname to this model; he had two of them with him during his European tour in July 1984. This inspired Thierry to buy this mandolin shortly thereafter, in 1985 or 1986.
Signe Borch plays a Capek “A-style” mandolin, April 2015, #364.
Guitar overdub (Thierry): Collings D1, 2025, #35964.

About “The Carrot’s Retreat”, Thierry Schoysman said:
“Like all my other compositions, I wrote this piece for multiple mandolins.
I really like the transitions from minor to major.
The unusual chord in this piece is the Eb between the G and the A before returning to D. But it makes sense when you realize that Eb is a substitute for A. Thanks to Bill Keith for teaching me that, back in 1982…
Mike Marshall once asked me why I often included the word ‘Carrot’ in the titles of my compositions. My answer: another guy had already taken the word “Dawg”… “. Alternative French title: “Les Carottes sont cuites“

Thierry Schoysman is a multi-instrumentalist specializing in Bluegrass (and Dawg) music. A renowned banjo player, he also made a name for himself in this field as a promoter of Bill Keith’s style in Europe. He has dedicated a specialized educational website to KeithStyle and leads numerous workshops and masterclasses in this area.
https://www.keithstyle.com/

Also known for his mastery of vocal harmonies, he has also developed a website dedicated to learning bluegrass harmonies, featuring vocal tracks that can be adjusted separately for learning lead, tenor, and baritone parts.
https://www.bluegrass-harmony.com/

“Table for Two” is a cross-border duo that has brought together Belgian musician Thierry Schoysman and Danish musician Signe Borch since 2016. The project includes mandolin duos, as well as banjo/guitar duos with two-part vocal harmonies.
https://www.table-for-two.be/

A member of several groups, as a banjo player (Rawhide) or mandolin player
(The Sons of Navarone (2000-2021)) till, and of course a singer, he has been a pillar of the European bluegrass community for several decades.
https://www.rawhide.be/
https://www.bluegrass.be/

Signe Borch grew up in a musical family, playing piano and singing in harmony with her sisters. She started playing guitar at 12, then played electric guitar in Danish rock bands. She later discovered bluegrass, which she plays on guitar, mandolin, and sings. She is the President of the Danish bluegrass association, “Bluegrass Music Denmark”. She is a member of the band No Man’s Land, as a guitarist and singer, and has also been performing with Thierry Schoysman in “Table for Two” since 2016.
https://nomanslandbluegrass.com/signe.html

“Compote de TOF,” composed by Christophe Constantin (mandolin) and accompanied by Loïc Gaudillat (guitar)

TOF: Christophe Constantin’s nickname, “given to me by a friend—it really made me laugh! ”—he plays an F5-style mandolin “made by my friend Jean-Marc Perrin, who, ever since I asked him to, has crafted quite a few mandolins that are highly regarded by experts in the field in France and throughout Europe. It has a very interesting sound for accompanying me when I sing (preferably in French).”

Loïc Gaudillat: a renowned and much-loved guitarist in the Rennes area (Brittany, France), he performs a wide range of musical styles and sometimes sings alongside Christophe Constantin. Their repertoire consists of French songs that are “funny and perfect for an audience that likes to join in, full of smiles and good humour” (Tof).

TOF also aims to introduce the mandolin as an accompaniment instrument for songs, something the audience always enjoys very much—whether it’s accompanied by a guitar, a double bass, or other instruments. Of course, the group continues to play bluegrass and other related styles.

According to composer Christophe Constantin, “Compote de TOF” is a mandolin piece that is “pleasant to listen to, easy to remember, and easy to learn if needed.”
“Since mandolin pieces tend to be composed with as many notes as possible, I thought it would be nice to appeal to an audience that rarely consists of experts and simply loves beautiful melodies.”

According to TOF: “Since time immemorial, the mandolin has been a leading light in music. No Internet, just loneliness with the instrument. But Pierre Bensusan, Christian Seguret, and the various bands of the ’80s and ’90s made me appreciate this music.”
A member of the band “Ol’Chaps” for 18 years, then Moonshine—more country-bluegrass in style—though few members remain from that era. With Acoustic River, a wonderful experience blending swing-bluegrass and French chanson. Various small groups and countless jam sessions: Craponne-sur-Arzon, AEGC, and the “La Roche” festival for the past 30 years. “I love improvisation and walking that knife edge. These days, I’m more interested in French chanson, where I’m pretty much on my own in performing the works of Brassens and all his spiritual sons and daughters. It seems to go over well, and… it’s a new direction because playing it on a mandolin isn’t exactly easy.”
YouTube Channel: @eltofdelparis

Instrumental in Bluegrass Style:

Songs in French (dchansons en français)

DUO : « LES VOYOUS » : https://eltofdelparis.wixsite.com/les-voyous
TRIO : « TRICYCLETTE » : https://watsonbridge.wixsite.com/bluegrass-americana/tricyclette

Mandolin Project 2026 (Table of Content)

“Fridée” is a composition whose title has no particular meaning; it comes from a rehearsal with the Frédéric Bourgeois’ trio, Tavarn, during which he played this piece—which is neither really a waltz nor really a “ridée” (a traditional Breton dance). But it is indeed in 3/4 time, and he composed it in his favorite style, influenced by Celtic music.

For the Mandolin Project 2026, Frédéric Bourgeois choses to use his Collings MF5V to stay closer to the spirit of this series, which was originally designed for the American mandolin. FB said: “I agreed to accompany myself on the octave mandolin (thanks to the technology that allows me to “clone” myself in the video)”. This is the “short-neck” model from Northfield Wavelength.

For several years now, Frédéric Bourgeois have been a passionate advocate for “A style shaped” with “oval-soundhole” mandolins, on YouTube, through his channel, @Tergal14Mandolin, where I mainly share Irish music pieces in the form of tutorials.

https://www.patreon.com/cw/tergal14mandolin

FB: “I can’t wait to see the next videos in this series—the first ones are already a source of inspiration!”

Mandolin Project 2026 on this blog