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SOLO O CON COLOR now available for preorder !
Music by @_barriospedro & @barbarapiperno
Cover artwork by @rodinsotolongo
Graphic design by @malou__mess__
Lacquer cut by @mariepieprzownik

Link in bio !

SOLO O CON COLOR now available for preorder !
Music by @_barriospedro & @barbarapiperno
Cover artwork by @rodinsotolongo
Graphic design by @malou__mess__
Lacquer cut by @mariepieprzownik

Link in bio !

SOLO O CON COLOR now available for preorder !
Music by @_barriospedro & @barbarapiperno
Cover artwork by @rodinsotolongo
Graphic design by @malou__mess__
Lacquer cut by @mariepieprzownik

Link in bio !

SOLO O CON COLOR now available for preorder !
Music by @_barriospedro & @barbarapiperno
Cover artwork by @rodinsotolongo
Graphic design by @malou__mess__
Lacquer cut by @mariepieprzownik

Link in bio !

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

Today marks the release of Tótó, the first single from Solo o con Color, the upcoming record by @_barriospedro and @barbarapiperno .
Although it is the label’s second release, it was actually the first to be recorded for the label. It comes out on May 29th, and you can already pre-order the vinyl via the link in bio.

We’ll share more about it in the lead-up to the full release. Still, this record embodies much of what I consider music to be: deep, both modern and traditional, live and produced, drawing on a vision of music that reaches beyond a Western-centric frame without ever making a point of it. But above all, it is a beautiful story of friendship and professional collaboration intertwined.

Solo o con Color

Pedro Barrios — Percussion
Felipe Cabrera — Double Bass
Barbara Piperno — Flute
Inor Sotolongo — Percussion
Adrien Durand — Synthesisers
Recorded at Studio Atlas, 2021.
Sound Engineer: Maxime Kosinetz; Assistant: Michael Tainturier
Produced and mixed by Adrien Durand
Cover artwork by Rodin Sotolongo

TOO BLUE by @jeanmicheldavis and his Quintet is out ! Go listen to it or grab your physical copy !

TOO BLUE by @jeanmicheldavis and his Quintet is out ! Go listen to it or grab your physical copy !

TOO BLUE by @jeanmicheldavis and his Quintet is out ! Go listen to it or grab your physical copy !

TOO BLUE by @jeanmicheldavis and his Quintet is out ! Go listen to it or grab your physical copy !

This Friday, March 6, we’re releasing the aptly named “Too Blue” by @jeanmicheldavis and his quintet.

Originally from France, Jean‑Michel plays drums, vibraphone, marimba, and classical percussion. The U.S. were his formative years: he arrived at @berkleecollege in Boston in 1975, where Ed Saindon first introduced him to jazz vibraphone, before he spent 1980–84 living and working between New York City and San Francisco.

Once back in Europe, he contributed to numerous projects; most notably, Les Primitifs du Futur, Dominique Cravic’s legendary musette extravaganza (formed in 1986 and still active today).

You might also have come across his name through @pearlandtheoystersband ; either on stage with them in California, or in their album credits.

Although I’d known of him for years, we first worked together while I was scoring the French TV series “Panda” (worth a listen, as it features several Bon Voyage Organisation regulars: Adrian Edeline on guitar, Cyprien Jacquet on drums, Pedro Barrios on percussion, and Jan Ghazi on lap-steel and pedal-steel).

Too Blue is also a very particular milestone: Jean‑Michel’s first live album as a leader, assembled from two concert recordings, captured months apart, yet stitched into one continuous statement.

In a cultural climate obsessed with “newness,” Jean‑Michel’s music is a reminder of the importance of both repertoire and transmission. This release is my way of saying a label can also be a place for continuity, where craft and lineage matter as much as novelty. Jean‑Michel is not only a musician, but also a transmitter, teacher, mentor, and author of pedagogical studies for vibraphone and percussion. He’s the kind of musician you learn from, quietly, without him ever setting out to teach.

We’ll talk more about the record in the coming days. Until then, enjoy the glimpse above.

Best,
Adrien

This Friday, March 6, we’re releasing the aptly named “Too Blue” by @jeanmicheldavis and his quintet.

Originally from France, Jean‑Michel plays drums, vibraphone, marimba, and classical percussion. The U.S. were his formative years: he arrived at @berkleecollege in Boston in 1975, where Ed Saindon first introduced him to jazz vibraphone, before he spent 1980–84 living and working between New York City and San Francisco.

Once back in Europe, he contributed to numerous projects; most notably, Les Primitifs du Futur, Dominique Cravic’s legendary musette extravaganza (formed in 1986 and still active today).

You might also have come across his name through @pearlandtheoystersband ; either on stage with them in California, or in their album credits.

Although I’d known of him for years, we first worked together while I was scoring the French TV series “Panda” (worth a listen, as it features several Bon Voyage Organisation regulars: Adrian Edeline on guitar, Cyprien Jacquet on drums, Pedro Barrios on percussion, and Jan Ghazi on lap-steel and pedal-steel).

Too Blue is also a very particular milestone: Jean‑Michel’s first live album as a leader, assembled from two concert recordings, captured months apart, yet stitched into one continuous statement.

In a cultural climate obsessed with “newness,” Jean‑Michel’s music is a reminder of the importance of both repertoire and transmission. This release is my way of saying a label can also be a place for continuity, where craft and lineage matter as much as novelty. Jean‑Michel is not only a musician, but also a transmitter, teacher, mentor, and author of pedagogical studies for vibraphone and percussion. He’s the kind of musician you learn from, quietly, without him ever setting out to teach.

We’ll talk more about the record in the coming days. Until then, enjoy the glimpse above.

Best,
Adrien

As we get closer to announcing our first release, it feels like the right time to introduce @malou__mess__ , who has been shaping the label’s visual identity.

Malou’s work first crossed my path during the Covid years, and I filed it away. Last spring, we started talking directions, and I’m excited to finally share what we’ve been building together.

Malou shares my appreciation for la beauté du geste: not just the details, but the path that leads to them, the iterations, the craft, the care. That sensibility feels rooted in her refined typographic culture. I once read that her work sits right at the junction of editorial design and visual identity, where constraints become a method.

And there was one major constraint: no titles, credits, or branding on the front cover. I wanted the artwork to live free of hierarchy, giving the entire sleeve to the cover artists, as a canvas.

I can’t wait for you to see it (and to hold it). In the meantime, enjoy the glimpses above. More on the music tomorrow.

Best,
Adrien

As we get closer to announcing our first release, it feels like the right time to introduce @malou__mess__ , who has been shaping the label’s visual identity.

Malou’s work first crossed my path during the Covid years, and I filed it away. Last spring, we started talking directions, and I’m excited to finally share what we’ve been building together.

Malou shares my appreciation for la beauté du geste: not just the details, but the path that leads to them, the iterations, the craft, the care. That sensibility feels rooted in her refined typographic culture. I once read that her work sits right at the junction of editorial design and visual identity, where constraints become a method.

And there was one major constraint: no titles, credits, or branding on the front cover. I wanted the artwork to live free of hierarchy, giving the entire sleeve to the cover artists, as a canvas.

I can’t wait for you to see it (and to hold it). In the meantime, enjoy the glimpses above. More on the music tomorrow.

Best,
Adrien

As we get closer to announcing our first release, it feels like the right time to introduce @malou__mess__ , who has been shaping the label’s visual identity.

Malou’s work first crossed my path during the Covid years, and I filed it away. Last spring, we started talking directions, and I’m excited to finally share what we’ve been building together.

Malou shares my appreciation for la beauté du geste: not just the details, but the path that leads to them, the iterations, the craft, the care. That sensibility feels rooted in her refined typographic culture. I once read that her work sits right at the junction of editorial design and visual identity, where constraints become a method.

And there was one major constraint: no titles, credits, or branding on the front cover. I wanted the artwork to live free of hierarchy, giving the entire sleeve to the cover artists, as a canvas.

I can’t wait for you to see it (and to hold it). In the meantime, enjoy the glimpses above. More on the music tomorrow.

Best,
Adrien

As we get closer to announcing our first release, it feels like the right time to introduce @malou__mess__ , who has been shaping the label’s visual identity.

Malou’s work first crossed my path during the Covid years, and I filed it away. Last spring, we started talking directions, and I’m excited to finally share what we’ve been building together.

Malou shares my appreciation for la beauté du geste: not just the details, but the path that leads to them, the iterations, the craft, the care. That sensibility feels rooted in her refined typographic culture. I once read that her work sits right at the junction of editorial design and visual identity, where constraints become a method.

And there was one major constraint: no titles, credits, or branding on the front cover. I wanted the artwork to live free of hierarchy, giving the entire sleeve to the cover artists, as a canvas.

I can’t wait for you to see it (and to hold it). In the meantime, enjoy the glimpses above. More on the music tomorrow.

Best,
Adrien

As we get closer to announcing our first release, it feels like the right time to introduce @malou__mess__ , who has been shaping the label’s visual identity.

Malou’s work first crossed my path during the Covid years, and I filed it away. Last spring, we started talking directions, and I’m excited to finally share what we’ve been building together.

Malou shares my appreciation for la beauté du geste: not just the details, but the path that leads to them, the iterations, the craft, the care. That sensibility feels rooted in her refined typographic culture. I once read that her work sits right at the junction of editorial design and visual identity, where constraints become a method.

And there was one major constraint: no titles, credits, or branding on the front cover. I wanted the artwork to live free of hierarchy, giving the entire sleeve to the cover artists, as a canvas.

I can’t wait for you to see it (and to hold it). In the meantime, enjoy the glimpses above. More on the music tomorrow.

Best,
Adrien

2009 was the year I released my first record under the moniker Les Aéroplanes on Mathematics Recordings, the now legendary Chicago-based label founded by @hieroglyphicbeing . Since then, I have released music on several other imprints.

Between 2010 and 2012, before the formation of Bon Voyage Organisation, I put out two records, Sorciers des aéroports and L’imposture, on the London-based imprint Stendec. It was my first attempt at acting as the A&R of my own label, and given the short lifespan of the endeavour, you could consider it a failure, and I would agree, albeit a formative one.

Then came Bon Voyage Organisation’s first EP, Xīngyè (星夜), on @disquepointu , @la_femme__musique own « maison de disques ».

Later, BVO signed with Columbia Records. I needed to have those infamous black-and-red macaron labels on my vinyl at least once (but, strangely enough, we had to redesign a template for them ourselves because they did not have them on their servers); for Géographie and for our first album, Jungle ? Quelle jungle ?

I eventually decided to become my own independent producer for La Course and to release that album, as well as the subsequent one, Loin des rivages, on L’Invitation Musicale, my own label. This coincided with the moment I chose to leave my day job, build a studio, and make the jump to becoming a full-time knob turner, fader positionner or to be more real, Avid forums veteran.

It seemed only logical, or rather a natural continuation of this path, that when COVID hit, I decided to open L’Invitation Musicale to other artists. In a day and age when artist development is often driven more by social media metrics than by musical vision or craftsmanship, I simply wanted to go against the current and offer music that could enlighten the listener’s day and nourish the spirit. Experimental food, exotic food perhaps, but never the fast one. Resistance is not always measured by how strongly you oppose what you dislike, but by how deeply you love what you do.

To be continued.

Best,
Adrien

2009 was the year I released my first record under the moniker Les Aéroplanes on Mathematics Recordings, the now legendary Chicago-based label founded by @hieroglyphicbeing . Since then, I have released music on several other imprints.

Between 2010 and 2012, before the formation of Bon Voyage Organisation, I put out two records, Sorciers des aéroports and L’imposture, on the London-based imprint Stendec. It was my first attempt at acting as the A&R of my own label, and given the short lifespan of the endeavour, you could consider it a failure, and I would agree, albeit a formative one.

Then came Bon Voyage Organisation’s first EP, Xīngyè (星夜), on @disquepointu , @la_femme__musique own « maison de disques ».

Later, BVO signed with Columbia Records. I needed to have those infamous black-and-red macaron labels on my vinyl at least once (but, strangely enough, we had to redesign a template for them ourselves because they did not have them on their servers); for Géographie and for our first album, Jungle ? Quelle jungle ?

I eventually decided to become my own independent producer for La Course and to release that album, as well as the subsequent one, Loin des rivages, on L’Invitation Musicale, my own label. This coincided with the moment I chose to leave my day job, build a studio, and make the jump to becoming a full-time knob turner, fader positionner or to be more real, Avid forums veteran.

It seemed only logical, or rather a natural continuation of this path, that when COVID hit, I decided to open L’Invitation Musicale to other artists. In a day and age when artist development is often driven more by social media metrics than by musical vision or craftsmanship, I simply wanted to go against the current and offer music that could enlighten the listener’s day and nourish the spirit. Experimental food, exotic food perhaps, but never the fast one. Resistance is not always measured by how strongly you oppose what you dislike, but by how deeply you love what you do.

To be continued.

Best,
Adrien

2009 was the year I released my first record under the moniker Les Aéroplanes on Mathematics Recordings, the now legendary Chicago-based label founded by @hieroglyphicbeing . Since then, I have released music on several other imprints.

Between 2010 and 2012, before the formation of Bon Voyage Organisation, I put out two records, Sorciers des aéroports and L’imposture, on the London-based imprint Stendec. It was my first attempt at acting as the A&R of my own label, and given the short lifespan of the endeavour, you could consider it a failure, and I would agree, albeit a formative one.

Then came Bon Voyage Organisation’s first EP, Xīngyè (星夜), on @disquepointu , @la_femme__musique own « maison de disques ».

Later, BVO signed with Columbia Records. I needed to have those infamous black-and-red macaron labels on my vinyl at least once (but, strangely enough, we had to redesign a template for them ourselves because they did not have them on their servers); for Géographie and for our first album, Jungle ? Quelle jungle ?

I eventually decided to become my own independent producer for La Course and to release that album, as well as the subsequent one, Loin des rivages, on L’Invitation Musicale, my own label. This coincided with the moment I chose to leave my day job, build a studio, and make the jump to becoming a full-time knob turner, fader positionner or to be more real, Avid forums veteran.

It seemed only logical, or rather a natural continuation of this path, that when COVID hit, I decided to open L’Invitation Musicale to other artists. In a day and age when artist development is often driven more by social media metrics than by musical vision or craftsmanship, I simply wanted to go against the current and offer music that could enlighten the listener’s day and nourish the spirit. Experimental food, exotic food perhaps, but never the fast one. Resistance is not always measured by how strongly you oppose what you dislike, but by how deeply you love what you do.

To be continued.

Best,
Adrien

2009 was the year I released my first record under the moniker Les Aéroplanes on Mathematics Recordings, the now legendary Chicago-based label founded by @hieroglyphicbeing . Since then, I have released music on several other imprints.

Between 2010 and 2012, before the formation of Bon Voyage Organisation, I put out two records, Sorciers des aéroports and L’imposture, on the London-based imprint Stendec. It was my first attempt at acting as the A&R of my own label, and given the short lifespan of the endeavour, you could consider it a failure, and I would agree, albeit a formative one.

Then came Bon Voyage Organisation’s first EP, Xīngyè (星夜), on @disquepointu , @la_femme__musique own « maison de disques ».

Later, BVO signed with Columbia Records. I needed to have those infamous black-and-red macaron labels on my vinyl at least once (but, strangely enough, we had to redesign a template for them ourselves because they did not have them on their servers); for Géographie and for our first album, Jungle ? Quelle jungle ?

I eventually decided to become my own independent producer for La Course and to release that album, as well as the subsequent one, Loin des rivages, on L’Invitation Musicale, my own label. This coincided with the moment I chose to leave my day job, build a studio, and make the jump to becoming a full-time knob turner, fader positionner or to be more real, Avid forums veteran.

It seemed only logical, or rather a natural continuation of this path, that when COVID hit, I decided to open L’Invitation Musicale to other artists. In a day and age when artist development is often driven more by social media metrics than by musical vision or craftsmanship, I simply wanted to go against the current and offer music that could enlighten the listener’s day and nourish the spirit. Experimental food, exotic food perhaps, but never the fast one. Resistance is not always measured by how strongly you oppose what you dislike, but by how deeply you love what you do.

To be continued.

Best,
Adrien

L’année dernière à la même période j’enregistrais ce qui deviendra la Bande Originale de la série Chair Tendre.

Difficile de trouver les mots pour décrire les extraordinaires moments que j’ai vécu en participant à cette aventure … merci @medoraexpress pour ta confiance et bravo à tous ceux qui, devant ou derrière la caméra, ont participé à la naissance de ce bijou.. @_barriospedro @jeyyyma @claralaplace @cubenzak1 @yoann_suberviolle_dp @delphine_genest @francetvslash … 🎼🌠

« (Loin des) Rivages », c’est le nom du dernier album d’Adrien Durand et de son Bon Voyage Organisation, un album que l’équipage BVO venait présenter ce mercredi soir dans la #ChambreNoire de Radio Nova. C’est en intégralité sur notre chaîne Youtube 🌊 @bvorganisation

Ce soir 21h en sextet sur les antennes de @laradionova ! @moodymoodmax@_barriospedro @jimgrandcamp @jeannemichard.music @antoninviolot

A R E Y O U R E A D Y ? / Extrêmement heureux de regrouper tous ces superbes musiciens autour de la musique de BVO, see you then ! @antoninviolot @_barriospedro @inorsotolongo @se.arno @moodymoodmax @jeannemichard.music @jimgrandcamp @kctrumpeter @guishaume_ @3c_tour @grandmusiquemanagement @gaitelyrique

J U N E 2 9 / L I N K I N B I O / L I N E U P T B A V E R Y S O O N /

« Un Américain à Tanger » live @cultureboxftv / now on YT / Prochain rendez vous le 29 Juin @gaitelyrique / Link in Bio