Asking André Ceccarelli to recount his life as a drummer means preparing to follow a journey spanning more than six decades through an impressive variety of musical styles.
From the 14-year-old drummer from Nice—the son of a drummer—who played at tea dances on the French Riviera, to the ever-vibrant octogenarian veteran whom everyone fought to have on their band, from Baptiste Herbin to Enrico Pieranunzi, including Claude Nougaro and Dee Dee Bridgewater, as we follow the questions posed by his friend Daniel Dumoulin (who is himself a drummer), we encounter a diverse array of musicians that speaks volumes about “Dédé’s” ability to adapt to any situation where his drumming—with humility, a sense of timing, and a remarkable willingness to collaborate, add something special to the vocalists who call on him—from Eddy Mitchell to Aretha Franklin, and from Ray Charles to David Linx. Indeed, Ceccarelliplayed extensively in studio sessions (up to three a day) for pop singers for about ten years before finally cracking under the pressure and giving up this lucrative but exhausting line of work. Stylistically speaking,
“Dédé” was fortunate, thanks to his father, to have played for dancers early in his career. This provided him with a foundation of unparalleled solidity—one that many French jazz drummers lack. He then served as the drummer for the rock band Les Chats Sauvages before joining Aimé Barelli’s big band—yet another formative experience that few French jazz drummers have had.
But “Dédé” isn’t just an excellent, versatile accompanist; alongside his work as a sideman, he has also led bands where his passion for composition and friendship led him to collaborate with musicians with whom he shared a musical and personal connection, such as singer Alex Ligertwood, keyboardist Bernard Arcadio, guitarist Biréli Lagrène, violinist Didier Lockwood or accordionist Richard Galliano—not to mention his brother and son, who are also drummers. Finally, he was part of egalitarian, leaderless ensembles, such as the Trio Sud with guitarist Sylvain Luc and bassist Jean-Marc Jafet, or the ASTA quartet with Italian pianist Antonio Farao, double bassist Thomas Bramerie, and saxophonist Sylvain Beuf.
In short, tracing “Dédé’s” career is like embarking on a musical journey through contrasting soundscapes—a journey made easier by a selective discography of some fifty CDs compiled and annotated by Bernard Lassalle.
A journey that, through pages richly illustrated with album covers and photographs of Ceccarelli at various stages of his life, allows us to (re)discover a man of constant humility for whom the most important thing is to put his instrument at the service of music. Few drummers can boast such an impressive track record and possess such an awareness of their role within the bands they join.
We can therefore only appreciate how fortunate we are to be able to listen to on record or see on stage such a talented and down-to-earth musician—one of the rare gems of French jazz—and to whom we wish a long life filled with music, family, and friends.
André Ceccarelli – Au rythme d’une vie avec Daniel Dumoulin is edited by par les Editions du Layeur. (Entirely in french)
©Photo Header Couleurs Jazz (2024 – Jazz in Noyon)
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