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François Bréant started as a jazz pianist but soon turned to progressive rock in the early 1970s, making his first recordings in a number of obscure French groups. He made a name for himself in the late '70s as the keyboardist, arranger, and bandleader of famous French singer/songwriter
Bernard Lavilliers, before becoming a sought-after producer in the '80s and beyond. His work on
Salif Keita's 1987 album,
Soro, was crucial to the early development of worldbeat. He released two solo LPs in the late '70s.
Born in Rouen, France,
Bréant's musical inclinations were strongly encouraged by his father, himself a pianist and painter. He learned to play the piano and the organ at a young age. In his lycée (high school) years he took a shine to the music of
Ornette Coleman and
John Coltrane, and played in a number of local jazz units. After studies at Rouen's École des Beaux-Arts he joined Cruciferius Lobonz, a visionary fusion jazz group formed by
Christian Vander and
Bernard Paganotti. The group recorded its sole album, A Nice Way of Life, in 1970, after which
Vander quit to form the highly influential
Magma.
After a short-lived project with Albert Marcoeur and
Pascal Arroyo,
Bréant traveled to the U.S. for eight months. Back home he formed Nemo with Cruciferius' Marc Perru,
Clément Bailly, and future Alpha Ralpha drummer Emmanuel Lacordaire -- with them he began to use synthesizers. After two progressive rock LPs the group disbanded in 1975. Soon after he began work on his first solo album, which would be three years in the making. Meanwhile he joined old friends Lacordaire and
Arroyo in 1976 to form one of
Lavilliers' first bands. His first solo LP,
Sons Optiques, came out in 1979, soon followed by
Voyeur Extra-Lucide. That same year he co-wrote
Lavilliers' album
Pouvoirs, one of the singer's finest moments.
Bréant left
Lavilliers' band in 1983 and spent a few years away from the spotlight, recording music for film, television, and producing. His name resurfaced in 1987 when
Salif Keita's LP
Soro became one of the first cornerstones of worldbeat. He also contributed to the African singer's follow-up,
Ko-Yan. From 1989 onward he played an important part in the career of jazz-pop singer
Enzo Enzo, but once again remained out of the spotlight, except for a short escapade with the jazz-rock band Zao in the early '90s. ~ François Couture