Quite some time ago, I recall that in bars and cafes, I played wooden chairs like if they were Cajón. I have always diverted objects, to make them musical or playful.

Using cheese rappers for güiros, Swedish rusks for raspy shakers. Of course cans,buckets and other containers, became circumstantial drums saving me many times,during the loss of my luggage for example.

This is how I discovered the Berber brushes, which became a trademark in my productions. These kitchen brushes have tendency to disappear making place for the Chinese plastic brushes.

True craftsmanship, the Berber brushes demand more dexterity, know-how, and especially time. That is, everything that tends to disappear nowadays.

I have the same appreciation, happiness and attraction with the mbira or sanza, African piano, which is often made of recycled materials, and is a wonderful instrument and adaptable to all music.

I play trees too. In my albums, some base rhythms are created on palms,Mediterranean, Mauritanians, Afghanis, etc.

And then over the decades, I met inventors, researchers, luthiers and musicians such as Jamey Haddad and his magnificent Hadgini-drum, the crystal organs of the Baschet brothers, the Hang  and the Spacedrum with Jimmy Braun.

I like the idea of being a little like a test pilot for new instruments. And then again on old and very old, redo, discover the wonders of human inventiveness, such as Ndut Leng Krak a prehistoric lithophone (seven magnificent prehistoric stones discovered by chance in Vietnam in 1948) and that can be heard and seen at the Musée de l’Homme in Paris, on which I recorded my first album.

On every trip, wherever I go, I discover or encounter an instrument, a sound or a human being who quenches my thirst for discovery and that I adapt to my acoustic research.