Patrick Derlon – FIP [February 2012]
 “If you want it or not, music nourishes our soul. Certain is, that if you are used to frozen food, a three-star menu may surprise and confuse you. This is what happens with the music of Matthieu Saglio. It nourishes our soul. It surprises and diverts us. The inner world what the artist proposes us through his music is so rich, that if you are afraid to bring to your ears what he generously offers you, let your soul simply get fed from it. Guaranteed three-stars!

CELLO SOLO

The newspaper El País gave a warm reception to the Cello Solo concert in the Palau de la Música in Valencia in October 2009.

Review article covering the concert (El País, 01/10/09):
It’s difficult for an instrument soloist on the cello to explore such foreign waters that are so far away from the pleasant river-bed of classical music. The proof is in the concert that was performed tonight in the Palau de la Música in Valencia, titled Cello Solo, in which he undertakes a peculiar exercise of merging styles, classic virtuosity and creative improvisation.
Read the full article (Spanish, pdf, 2,2 Mo)

Feature on the concert (El País, 04/10/09):
The figure of the French cellist Matthieu Saglio blends two factors together which works what seems to be the improbable: an indisputable ability from his classical training, to extract all forms of possible sonority from an instrument, and an opening of methods that have no stylistic or geographic limits, from which it is possible to draw a straight line that begins with Bach and reaches tango, funk, or oriental auras, without derailing his train in doing so.”

In some landscapes it is not difficult to evoke the cinematic capacity of the best Yann Tiersen."

The proof is that in skillful hands lacking prejudices, such an instrument can become unexpectedly versatile. A challenge with a very graceful ending.
Read the full article (in Spanish, pdf)

Amancio Prada (singer & songwriter)
"It is said that cello is the instrument that best sings, the closest to human voice.
I also have this feeling, and in fact it has been the instrument that has best accompanied my singing in concerts and recordings, together with the guitar.
The first time I saw Matthieu Saglio playing I got marvelled by the deep sound of his music and the lyric outburst of his cello’s soul. With elegant naturalness, it sounded as if dark and ancient chants of underground roots would rise from his cello, poked to the ground. Then, with technical skill, he summoned an involving resonant loop, converting into polyphony the resin of the bow over the strings. The moment came when the instrument and the musician turned to become one, when the strings of the cello Saglio pulled the vocal strings of Matthieu in a guttural breath, or the other way round, I couldn’t really say, but then, what sounded was a prayer, something so sublime and heartrending that it became nearly unbearable. And that was ecstasy.
I therefore heartily advise you to let you rock from “Cello Solo” by Matthieu Saglio. It’s much more than a cello. His music will keep echoing with a trace of beauty and emotion that will attend you for a long time; maybe forever.
"

Dimanche Ouest France - June 2011 : “Unclassifiable and universal.”

World Music nº84 [December 09]
Excellent work (…) with absolutely lovely moments. The combinations of the cello with his own voice are surprisingly magical. (…) He himself states that the cello allows a lot more technical possibilities than those that tend to be used in practice and he shows this by expanding his range of pitch, discovering sounds that seemed unusual for this instrument. While a cello concert in theory could seem a little monotonous, the truth is that Matthieu proves quite the opposite and causes the listener to vibrate with the sounds that he manages to draw out with his instrument. (…) A delight.
Read full article (in Spanish, pdf)

Words of Nadia Khouri - Babelmed.net - August 2009
The Allemande of Suite nº1 of Bach opens this album as if Matthieu Saglio, trained in classical music, wanted to tell us that he doesn’t at all deny his first love, although now he enjoys exploring new horizons. Furthermore, the album –that first became a performance, launched in February 2009 in Madrid where it received a great ovation by the public- was developed to make us travel, imperceptibly, through different musical landscapes like with a train, which passes from one area to another in a smooth ride without any bumps in the road.”

AU Agenda Urbana [September 2009]
The album is a marvelous discovery (…) with moments of delicate power that palpitate and dissipate, leaving a melancholy satisfaction as its leaves.

Blog Biblioteca Salamanca- Salamanca Library Blog- [Novemeber 2009]
There is no doubt that the Cello Solo performance will remain in our hearts, ears and skin for a long time, for those of us who had the pleasure of hearing it yesterday. Dos Suites de Bach opened and closed the show, and in the middle was a sonorous journey given to us through Matthieu’s compositions interpreted with great virtuosity which the composer doesn’t flaunt about. Everything is planned as a unique journey where it is only at the end of the concert when we are conscious of having arrived at a destination.

Café Babel – interview/ portrayal of Matthieu Saglio [February 2010]
An unclassifiable cellist.

AgroMag nº16 – portrait of Matthieu Saglio [March 2010]
A first class cellist.

L'Info Métropole de Rennes [May 2010] 
A magnificent album. An identifiable style from the first chord vibration.

Nous Vous Ille [June 2010]
A revelation.


DIOUKE

Carlos Pérez de Ziriza  - Oct. 2012
Fabulous album, (...) which gives sense to the term “Global Music”.  I wish all the music born under the alibi of fusion would have such a laid-back approach.”

Skyline (La línea del Horizonte) - Brigitte Vasallo - Nov. 2012
His first album is a piece of daylight, kind and full of hope, filled with suggestive songs: the perfect melody for a winter supposed to be long and times that tend to darkness.”

"It is said that cello is the instrument that best sings, the closest to human voice.
I also have this feeling, and in fact it has been the instrument that has best accompanied my singing in concerts and recordings, together with the guitar.
The first time I saw Matthieu Saglio playing I got marvelled by the deep sound of his music and the lyric outburst of his cello’s soul. With elegant naturalness, it sounded as if dark and ancient chants of underground roots would rise from his cello, poked to the ground. Then, with technical skill, he summoned an involving resonant loop, converting into polyphony the resin of the bow over the strings. The moment came when the instrument and the musician turned to become one, when the strings of the cello Saglio pulled the vocal strings of Matthieu in a guttural breath, or the other way round, I couldn’t really say, but then, what sounded was a prayer, something so sublime and heartrending that it became nearly unbearable. And that was ecstasy.
I therefore heartily advise you to let you rock from “Cello Solo” by Matthieu Saglio. It’s much more than a cello. His music will keep echoing with a trace of beauty and emotion that will attend you for a long time; maybe forever
."
Amancio Prada (singer & songwriter)

[ukvibe.org] - Tim Stenhouse - nov. 2012
" A real slow burner of an album that deserves your attention. (...) One of the year's most intriguing discoveries."

Los Sonidos del Planeta Azul, UPV Radio – Paco Valiente - 25/06/2012
Disco de la semana
"They started from traditional African music to compose nine tracks, where a continuous African-European-American dialogue of meticulously worked out compositions is to be found, full of small details that give birth to pieces as beautiful as optimistic and innermost. African essence in the songs, blues as emotional reference, and a kaleidoscopic cello able to transit from a classical score to avant-garde jazz or Mandingo culture, with virtuosity and a dazzling creativity. (…) Extraordinary album."

El País - Chema García Martínez - [sept 2012]
"The playful kora of Abdoulaye N´Diaye opens its way within our deepest dreams. Its sounds reflect the nostalgic echo of a sun rising out of the infinite horizon, and this is Africa being dreamt, luminous and profound, until the accordion of Carlos Sanchis pokes out, transforming the colour of the music, which suddenly tastes like salt, like a port, like life itself.  A swing turns then on, light and bubbling, appearing with Matthieu Saglio and his cello, from some deep and remote harmonies which go beyond any kind of known or outcoming style. In every single of Diouke’s tracks something incredible happens: the music of our three musicians and of those who accompany them gets down into our innermost heart to stay there…
What makes it impossible to classify in a given style, turns out to be sensual and positive beyond compare. Listening to Diouke brings you an unbounded and inexplicable joy. But who cares why? You just need to abandon yourself to this music with no name, let you rock from it and travel within its soul, from Senegal (“Lima”) to New-York (“Miba”) and back to its starting point (“Toukanba”). Listening to Diouke, one feels the world is a nice place to live.
"

Discópolis, RNE - José-Miguel López -  [sept. 2012]
A cosmopolitan trio nowhere else to be found, (...) an exquisite music, based on tradition, although not traditional at all.” 

Los sonidos del Planeta Azul – UPV Radio - Paco Valiente – [julio 2012]
They started from traditional African music to compose nine tracks, where a continuous African-European-American dialogue of meticulously worked out compositions is to be found, full of small details that give birth to pieces as beautiful as optimistic and innermost. African essence in the songs, blues as emotional reference, and a kaleidoscopic cello able to transit from a classical score to avant-garde jazz or Mandingo culture, with virtuosity and a dazzling creativity. (…) Extraordinary album.
Read the full article

World Music - January Ruiz & JM Esteban – [oct 2012]
"The Senegalese Abdoulaye N’Diaye (kora and voice), the Frenchman Matthieu Saglio (cello and voices) and the Valencian Carlos Sanchís (accordion, harmonica and keyboard) met in Valencia, where this peculiar trio was born, and whose music belongs to an open and elegant World Music style. Sounds of Africa, Mediterranean tastes, classic lyricism and jazz’s freedom merge in such an efficient way to ring simple, in spite of the difficulties it raised. The naturalness with which sounds and instruments of apparently distant origin melt together, draws attention. This is precisely the great discovery of our trio: merging elements apparently disparate into something inborn... And  achieving this with an aesthetic concept full of elegance and good taste. N’Diaye and Saglio are the main composers of this album, that ends up with a traditional theme (“Toubanka”). The trio has managed to round off a music that results attractive at every single moment, succeeding in making it enjoyable from the beginning till the end. At this time full of so many forced fusions, it is greatly encouraging to prove that it is indeed possible to obtain results as natural as the mouth of a freshwater river flowing into the salty waters of the sea."

A+MAG (Sept. 2012) 
All of this album is marked with a serene spirit, exhibiting ranges where the kora and the cello feel free, and where the accordion of Carlos Sanchis turns into a murmur, a caress full of gentleness… A perfect success.

Discópolis, RNE - José-Miguel López - [sept. 2012]
A cosmopolitan trio nowhere else to be found, (...) an exquisite music, based on tradition, although not traditional at all.

Emilio Garrido – RNE [Sept. 2012]
If two European musicians walked around Dakar one afternoon and would hear someone whistlingthe theme “Toubanka”, for example, they would immediately want to go back to their hotel’s room to play it and make it part of their repertoire. If on the next day they would see a street musician interpreting this same song on his kora, this captivating instrument between the lute and the harp, then the Europeans would go straight down to the Senegalese musician and offer him to form a band. They would maybe call this band Diouke, get up, or get on your feet, according to the Wolof language spoken by the ancestral tribes of the place.
All of this happened, although it was not necessary to go to Senegal. It simply took place in the most natural way in Valencia, city where the three of them live. The cello player Matthieu Saglio knew quite well the accordion player Carlos Sanchís and the kora player and singer Abdoulaye N’Diake, for they used to be regular guests at the Flamenco-Jazz band Jerez-Texas first concerts’. Whoever knows the musical career of Matthieu, knows perfectly that he cannot remain quiet. He will either merge his cello with Bulerias, perform on his own a one-hour concert, accompany  a Moroccan violinist, a Sephardic band, or, like now, invent the term of Cool-Afro-Jazz to define the music of his last band.
Nonetheless, I believe that Diouke, which is also the name of their first album, turns irrelevant any kind of labelling. For sure it is jazz, African jazz indeed, although I would call it universal jazz. Cool also, in the most velvet-like sense of the term. But this project involves much more than this: there is swing, and of the best, in the accordion’s solos, there is Parisian melancholy in the starting ups of the cello, there is, what Léo Férré would call the Tam-Tam of Africa in the voice and fingertips of Abdoulaye, and there are nearly implausible dialogues between two cultures, two worlds, two tropics, two seas, and various instruments.
What first draws one’s attention when listening to the music of this trio, is the fact that instead of ringing like three musicians playing, it sounds like thirty of them. The music fills in the space in a powerful way. The atmosphere is tinged with laments, ballads, scales, sequences and melodies of unknown origin.
Sometimes you will feel as though you were on a patera boat sailing on the Alboran Sea under the starry vault, and some others you will feel like walking barefoot on a Recife’s beach. Behind these songs we find dreams, wishes, tradition, invention, but most of all the subconscious of the three musicians. This other one they’d like to be, this identity they’d like to accomplish if they could exercise their solidarity, if their music could contribute to the famous 0.7% for cooperation.
Unity through diversity, without pathetic sobs. A fine-tuned sensibility here and now. Happy to be alive, even though on a patera boat. A tremendous emotion. The feeling that, whatever will happen to us, we will always be protected from disasters thanks to music and fearless hearts.
Diouke is all this and much more. If you haven’t heard it yet, you can’t imagine the surprises that are awaiting you, until you open the cellophane. Or when, for example, the theme “Toubanka” gets into your ears, the feeling in your innermost of the delightful joy of being alive.


DUET WITH FATHI BEN YAKOUB

World Music, nº 86 [March 2010]
The duet works to perfection (…) the two protagonists are virtuous of their instruments. A highly recommendable album for lovers of string instruments and musical encounters of different cultures.

Diario Levante (Levante daily newspaper) - Josep Lluís Galiana - 12/12/09
Beyond instrumental and interpretive virtuosity-both musicians showed complete mastery in their respective string instruments- in aesthetic and stylistic virtuosity. Yakoub and Saglio have achieved this fusion, this mix of oriental and western, of North and South, hanging a silver bridge across the Mediterranean in which both musical expressions have found themselves and joined together to become one voice, one pulse, in a unique way of expressing emotions, feelings, happiness, daydreams and most definitely, sensuality. (...)
These musicians coming from such different origins manage to recreate a close musical atmosphere, aswell as being distant, millenary and constructed with the sedimentation of musicians and using gestures which are very different, but that wrap the audience in a magic ancestral halo.

Chronicles of Nadia Khouri - Babelmed.net - August 2009
One is surprised realising that the cello, which is rarely used in Arabic music, seems to free-run in it, contributing to the seriousness and melancholy which belongs to this instrument, and inner-self atmospheres that classical oriental music cultivates also. Two yellow butterflies that dance together in full flight are pictured on the album cover, and the variations of the two string instruments are synonymous with the graceful and unexpected movements, ones we have always loved, as these creatures are, more than birds that can be encaged, the ultimate symbol of freedom. An album that seduces lovers of one instrument or another…


JEREZ-TEXAS

Chema García Martínez, El País [feb 2010]
Jerez-Texas’ music is a small miracle, or a big one, depending on how you see it. It’s the type of music you would listen to all your life. It’s the feeling of being lifted away by Isabel’s sinuous voice, Matthieu’s velvet cello, Ricardo’s sol y sal guitar, Jesús’ gypsy-like percussions…Jerez-Texas’ music isn’t flamenco, or jazz, or even flamenco-jazz, but rather something else that is difficult to describe, as there are no words that successfully manage to describe a dream.

Tomajazz.com - October 2011
A kaleidoscopic set where the fun takes over. (…) a collaboration to be reckoned with not only for their excellent performance but also for their ability to source their work from it’s authentic roots with originality and great clarity of ideas in their interpretation.”

World Music nº84 [Dec. 09]
The album Sun is a real gem, they are even better live as the trio makes it look easy which is a skill only great musicians achieve.

Agencia EFE – (9 de julio 2006) – crítica de concierto
«The Spanish group Jerez-Texas – who played at San Javier as a sextet – and the quartet from the American saxophonist Wayne Shorter have created a remarkable night of flamenco, classical music and jazz. The public, celebrating the 5th night of the IX Jazz Festival of San Javier in the auditorium of the Almansa Park, was delighted.
Jerez-Texas managed, at the end of the concert, to win the public’s warm and fond recognition, greatly deserved, as if they were part of the family. A wonderful concert. »

Mondomix (nov-dic 2005)
«On first impression an amazing blend of music, which on listening proves to be sensational, on “Saó” Jerez-Texas takes you to places beyond your imagination with great daring but without being overblown. »

FNAC – Cuadernos de Verano (verano 2006)
«With such original material, it is not surprising that Saó is teeming with energy, freedom and elegance. »

El Mundo (10 de octubre 2003)
« Jerez-Texas brings together imagination and musical creativity, quality and skill. »

Emilio Garrido – Radio3 (Radio Nacional de España) [julio 07]
One of the two best concerts of the summer 2007 in Spain

Web Acidjazzhispano [junio 07]
“Patchwork, an album which should definitively impose [Jerez-Texas] as one of the most interesting projects in the national panorama, in addition to being ‘a must’ for all those who like successful fusions.”

Los Sonidos del Planeta Azul – Radio UPV [junio 07]  “álbum de la semana”
“Their musical language, personal and recognizable, becomes universal by integrating the best essence of free and creative jazz, an elegance that suits the classical repertory, the flamenco and the Mediterranean music in general. (…) An album rich in nuances and textures, kaleidoscopic and brilliant.”

B! Ritmos [julio 07]  “recommended album ”
“A new folklore: close to jazz, full of the joy of songs from the south and with all the freedom of 3 people who believe in their project. (…) In their new work, the sound is again of an unquestionable quality, and the compositions widen the spectrum which extends to every sound of all the people who have come close, over the centuries, to the Mediterranean shore. One of the most interesting concerts of the coming months.”

El Olivo Flamenco [sept. – oct. 07]
“Another masterpiece, living example speaking volumes about what can be or can represent the mix between flamenco and the musics of the world. (…) a musical delight for all public.”

World Music nº69 [2007]
“A delightful musical cocktail to enjoy with great pleasure. (…) This international recognition is more than deserved and will certainly increase after the publication of this excellent album.”

Mondomix [Marzo 2008]
They harmonise jazz and flamenco with effortless grace, enhanced by crystalline vocal exercises in Spanish or Wolof. Esteve, Saglio and Gimeno thus instil a feeling that a new folklore is being re-invented around the time-and-tested repertoires from southern Spain. (…) a treasure-trove of sensations.”

Entire Press-Book of Jerez-Texas there : www.jereztexas.com


OTHER PROJECTS

Ensemble Impromptu & Invitados [improvised music]
Sala SGAE Valencia, 2-12-2009

There were culminating moments with emotive cello and flaviol solos (…) that became integrated in a surprising way, and resulted in being very satisfactory with the rest of musicians
“The second piece, a magnificent duet with Jorge Gavaldá’s guitar and Matthieu Saglio’s cello offers us a horizon of musical symbiosis of two interpreters that should work together more often in the future. Their interaction and complement was amazing.”
“A concert that we can catalogue as brilliant and almost without fissures.”
Diario Levante (3-12-2009)