Composer & guitarist Quentin Dujardin creates a unique instrumental universe around his nylon-string guitars. Like a series of postcards, his music is imbued with intuitive experiences from the streets, landscapes lived and musicians encountered on the road. His guitars invite you to discover the music of a universal elsewhere and connect to our Western musical heritage in astonishing and unexpected ways.

DISTANCES is the album that announces with groove and sensitivity that artistic maturity has arrived. From nylon to steel-string, through slide and ukulele, Dujardin reveals a universe that encompasses musical meetings that surprise, as in the song Ya Bai Miriam with the Palestinian a capella group El-Funoun. The exchange between the bewitching kanun of the Tunisian Hamza Mraihi and the Moroccan violin of Jalal El Allouli transcends the song Condroz, a composition dedicated to Dujardin’s homeland. Undoubtedly influenced by the cinematic Westerns of his childhood and the music of Ennio Morricone, the epic Gaston Gendebien highlights Dujardin’s furious strumming and raging voice in endless spaces where Dominic Ntoumos and his trumpet soar with true force.

The artistic production of the American Lee Townsend (Bill Frisell) reveals Dujardin’s sonic universe with extraordinary finesse and intelligence, taking his intense pan-stylistic musical vibrations further across many musical landscapes, whether classical (Distances & Un été avec toi), folk (California) or purely acoustic, as in Papa Rosa, a tribute to the drummer and singer Brian Blade.

Make no mistake, the artist's guitar has no limit. Track after track Dujardin’s six-string magically erases distances to announce a new era without borders. So, how about one for the road? Sit back in your sofa and open your ears to discover DISTANCES.

DISTANCES by Quentin Dujardin

"Back home with my guitar I played a few tunes. Bamako was still in my body, but without its sand, its warmth, its blues. The forests, rivers and valleys of the Condroz for my eyes and ears. Especially, a great desire to compose before my wood stove.

Two microphones in front of my guitars. The winter passes. Playing some overdubs, the exploration intensifies night and day. The musicians are at home. An album is recorded.

From time to time Brian Blade is on the turntable, Bill Frisell and Nigel North caress my ears. I think back to my companion, Gaston, and his caravan. My childhood friends, the streets of Saint Fontaine.

The music rises, distances disappear and I'm here at home."