Category: Mandolin Project 2026 (Page 1 of 2)

“Rêverie matinale” (Morning Dreaming) 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

Le Beausset: composed and performed by Jean-Marie Daviaud (mandolin), accompanied by Philippe Colleu (second mandolin) and Yann-Gireg Le Bars (guitar)

“The idea for this instrumental piece, dedicated to Paul Rodriguez, came to me as I was reminiscing about the times I spent playing with Paul Rodriguez in “Le Beausset” (a town in the south of France, near Toulon), where he lived with his wife Isabelle before they moved to “Six Fours”. We often played there—either just the two of us, with ‘South Drive,’ or with Bernard Minari.
Once the song took form, it was a pleasure to play it with Philippe Colleu, who’s more organized than I am, as well as with Yann-Guirec and his ‘magical tuning.’” (JMD)

• Jean-Marie Daviaud: mandolin Krishot Garnet (Eduard Krištůfek-2014)
• Philippe Colleu: mandolin Perrin (2021)
• Yann-Gireg Le Bars: guitare Fouilleur (1999)

Recorded & mixed at Coatascorn (Brittany) 10/09/2026 by Yann-Gireg Le Bars. Video Recording: Catherine & Philippe Colleu ; editing: Philippe Colleu

Jean-Marie Daviaud
Jean-Marie Daviaud began playing bluegrass in Le Vésinet (near Paris) in the 1970s, with Laurent Amelineau (banjo) and Richard Talbot (guitar). In 1979, he met the band “Crazy Duck”: Philippe Bourgeois (banjo), Hervé Verdier (double bass), and Thierry Loyer (dobro, who was also his mandolin teacher),
sometimes joined by Jean Darbois (violin) and Richard Talbot (guitar) as guest musicians

In 1980, Jean-Marie played with the “Woodpickers,” then, starting in 1982, with one of the iconic bands of the 1980s: “Stylix,” consisting of Jean-Marie Redon (banjo, vocals), Thierry Massoubre (guitar, vocals), and Paul Rodriguez (bass and vocals). The band recorded a single in the Paris area in 1983, then performed at the 3rd Toulouse Festival in 1985, before embarking on a tour of the United States in 1986, during which they recorded an EP in Nashville.

However, starting in 1987, the professional obligations of some of us, as well as Thierry’s move abroad, led to a slowdown and sporadic activity for this “semi-professional” band, until 1997.
In the years that followed, Jean-Marie played occasionally with several bands, including with Paul Rodriguez, Strings Fellows, and South Drive.
In 2017, he contributed to Thierry Massoubre’s album Behind the Strings.

In 2004, Stylix performed in Colombes at a special gig with Jean-Marie Redon, Sharon Lombardi, Jean Darbois, and Paul Rodriguez. After Paul Rodriguez was unable to play due to illness, Jean-Marie played with “Les Misfits,” “Wood’n Steel,” and once again with “Strings Fellows” and “South Drive.”

Jean-Marie was influenced by talented mandolinists, including John Duffey, Ricky Skaggs, David Grisman, Christian Seguret, Jethro Burns, Joe Walsh, and John Reichman.

Philippe Colleu

After beginning his musical career playing the bluegrass banjo (with Loguivy Bluegrass and then Swing Gum), Philippe Colleu took up the mandolin in the early 1980s.
His teaching career led him to work in French schools abroad. It was there that he gained extensive musical experience: Homebrood in Kuwait, the Russian Orchestra in Los Angeles, a jazz trio in New York, a guitar-mandolin duo in Saudi Arabia, and many others.
Since retiring, he has devoted himself to the mandolin as a member of the band Zi Armorikains (bluegrass/western swing).
Zi Armorikains: https://www.youtube.com/@ziarmorikains205

He also posts mandolin tutorial videos on the YouTube channel mandolin.breaks: https://www.youtube.com/@mandolin.breaks/videos

Yann-Gireg Le Bars

Yann-Gireg Le Bars is a guitarist specializing in the “DADGAD” open tuning. He has been taking his guitar to festoù-noz events in Brittany and beyond for 35 years. He was a founding member of the bands Dibenn, Pellgomz, and Hastan. At the same time, his passion for Irish music led him to make numerous trips back and forth to County Kerry.
In 2009, he stepped back from the stage for a while and devoted himself instead to teaching guitar, particularly in contemporary music (pop, rock, blues) and traditional music (DADGAD guitar, tenor banjo, mandolin).
He returned to the performing stage more intensively in 2023 with Merry Bellies (an Early Jazz & Swing duo) and Maybugs (Irish music), and has filled in as a session musician across various musical styles, ranging from fest-noz to pop.
https://www.merrybellies.fr/

He also created a lecture-performance on guitars (Tout un monde de guitares), combining stage performance, music, and sharing his research. Versatile, he has since added to his repertoire a children’s show (La suite Royale), bluegrass with “Zi Armorikains,” and a tribute to a legendary Irish band (Bothy Band).

Chopping In The Boondocks written, performed and recorded by Jesper Rübner-Petersen

With “Chopping In The Boondocks” Jesper presents an original composition played on only one mandolin without any overdubs, written exclusively for the Mandolin Project 2026. The track skillfully combines his driving Chop Melody Style with some innovative elements such as Floating Style passages and Two-String Cross-Picking

Jesper Rübner-Petersen is a Danish mandolinist, musician, educator and author rooted in Bluegrass and American acoustic music. Born in Aarhus, Denmark, he grew up surrounded by Bluegrass and acoustic music through his banjo-playing father. He started guitar at the age of 12 and played with various Old-Time and Bluegrass bands. He later studied jazz at the American Institute of Music in Vienna, building a strong foundation in harmony, theory, and improvisation.

Around 1994, Jesper discovered the mandolin, which became a central instrument in his musical life. Since moving to southern Germany in 2000, he has worked as a guitar and mandolin teacher and taught at numerous workshops, including Beppe Gambetta’s Summer Workshop and other international acoustic music workshops. His playing combines the traditions of Bluegrass and Old-Time music with jazz and other acoustic styles.

Jesper is also the author of The Mandolin Picker’s Guide to Bluegrass Improvisation, a 200-page instructional book published by Mel Bay.

Jesper currently performs with two bands: Trio Vibracao, a New Acoustic Music trio with Oliver Waitze and Max Scharf, and the Bluegrass band Bunch of Grass. He continues to perform, teach, and share his experience and passion for mandolin and acoustic music with musicians around the world.

Jesper mandolin is a 1996 build (Lou) Stiver mandolin, with the name “Good Ol’ Doc”.

Jesper Rübner-Petersen – Official Website
https://share.google/rrFGAePMbtz9rM0KJ

“The8Strings” Jesper Rübner-Petersen Official YouTube channel
https://youtube.com/@the8strings?si=D-6XumbR34p3lfVk

Chop Melody Style tuto (1) & (2)

Mandolin Project 2026

“Murmure des Ombres” (Whisper of the Shadows) written by: Bernard Minari
Anouman: Bernard Minari (Mandolin), Patrick Portales (Guitar, Mandocello), Yves Rossignol (Bass) guest: Daniel Portales (Mandola)

Bernard Minari composed “Murmure des Ombres” (Whisper of the Shadows) last year, in 2025. It was the dance of the tree shadows, cast on the walls on a day when the Mistral was blowing strongly in Provence (France)—where Bernard currently live—that inspired the first notes within him.

The spirit of our music is guided by creativity and open-mindedness. This piece draws more inspiration from Brazilian choro, but Patrick’s “GRun” at 3:24 brings us back down to our usual musical background!

The instruments -For the prelude:

Daniel Portales plays his 2024 JM Perrin mandola
Patrick Portales plays a 1923 K4 mandocello (owned by Bernard Minari)
Bernard Minari plays a JM Perrin 3P mandolin

For the piece itself:

Bernard Minari plays a JM Perrin 3P mandolin;
Patrick Portales plays a 1956 Martin D18;
In the background, you can see a 1916 Gibson H4 mandola.

***
Anouman: In the late 1970s, Bernard Minari and the Portales brothers played in informal bluegrass bands in the Toulouse area with childhood friends: Fred Simon (banjo), Nam Ngo Thien (dobro), Yves Minari (guitar/vocals), Daniel Portales (mandolin/bass), Patrick Portales (guitar), Bernard Minari (mandolin/bass), and Olivier Christiène (violin). This small group was later joined by Yves Rossignol, who came from a jazz background and had received classical training at the music conservatory.

In the early 1980s, their discovery of David Grisman’s acoustic musical world (Dawg Music) quickly led to the formation of Anouman and a desire to explore these new sounds. Yves Rossignol, Patrick Portales, Bernard Minari, and Olivier Christiène laid the foundation for what would become Anouman. Very quickly, the quartet found its musical identity, blending original compositions with covers of jazz standards.

In 1983, during the first Toulouse Bluegrass Festival edition, the organiser Joël Herbach, did Anouman the honor to perform at the “Halle aux Grains”, on the same stage as legendary American bands such as “Seldom Scene,” “Newgrass Revival,” and “Tony Trischka and Skyline”…

Since violinist Olivier Christienne was unable to perform at this concert, the group initially reorganized as a trio, then welcomed fiddler Jean Darbois— who had previously played with Christian Seguret and “Transatlantic”— for many of the pieces.

After a few years and many good times, family and professional life took precedence for each member, and only Yves Rossignol pursued a musical career, in Spain and Italy. But the personal bonds were never truly broken. Strong friendships are indelible. At the turn of the 2020s, new collaborations emerged, such as “Mando Duo ” (Daniel Portales, Bernard Minari -Coming soon into this project).
– Mando Duo

https://www.youtube.com/playlist? list=OLAK5uy_nWiVR8nonGrIgCe92xAkplEw_DLv0WETY

– Mando Duo Vol.2

https://www.youtube.com/playlist?list=OLAK5uy_leNYFtShGrOqo3DfB7Tvz16bgJ-E8vg4E

– Mando Duo Live at Al Ras 2019 (1)

– Mando Duo Live at Al Ras 2019 (2)

https://www.youtube.com/watch?v=vkgaSwXMnEU

A reunion of Anouman was then considered. Unfortunately, Jean Darbois passed away, and we were deeply saddened by his loss.

Today, Anouman are once again working on a repertoire of old and new songs; in doing so, we’ve noticed that the compositions from the 1980s have a very distinctive style… *** Bernard Minari is also playing with Uzer Trio https://www.youtube.com/playlist?list=PLT2ouYv3jPoM Daniel & Patrick Portales also playing in “Catch the Goat” (Coming soon into this project)

 @fretdreamer ​
Mandolin Project 2026

”Kingfishers” Written by: Bruno Garreau (mandolin: F5 PERRIN), accompagned by: Hervé Lelou (fiddle) William Garreau (guitar)

Bruno Garreau became a professional musician in 1997. At the time he was the mandolin player in the bluegrass quartet led by banjo player Philippe Bourgeois with whom he worked five years (festivals and gigs all over France and Europe, album “Uncle Sam Down The Road”).

In 2009, Bruno created a new recital, designed around music he composed for mandolin to be given as a duo, a trio, or a quartet.

”Kingfishers” is one such creation, born upon the banks of the river “Loire” (France), so dearly cherished by Bruno.

• Bruno Garreau YouTube Channel

• “American Mandolin & Jazz Guitar” (with Jean-Christophe Renvoyer (guitar), recorded & mixed by: Jean-Christophe Renvoyer) – Record Union 2014

• “Lady Brighton” (with Willam Gareau (guitar), Produced, recorded & mixed by: Jean-Christophe Renvoyer) – Record Union 2018

• “Another Grass” (with Thierry Loyer (dobro), William Garreau (guitar), Produced, recorded & mixed by: Jean-Christophe Renvoyer) – Record Union 2020

• “Red Moon” (with Thierry Lecocq (fiddle), William Garreau (guitar), Produced, recorded & mixed by: Jean-Christophe Renvoyer) – Record Union 2024

personal website:
https://www.brunogarreau.com
Bruno Garreau on Spotify
https://open.spotify.com/intl-fr/artist/05QAKesffnfFX2Lafs5cnz
Bruno Garreau on bandcamp
https://brunogarreau.bandcamp.com/
Bruno Garreau on Apple.music
https://music.apple.com/us/artist/bruno-garreau/953112803

@fretdreamer
Mandolin Project 2026