Bassist, multi-instrumentalist, composer and producer, Daniel Yvinec – who transforms himself into Yvinek when he devotes his energies to electronica – is remarkable for his atypical and cosmopolitan career path. Insatiably curious about all forms of music past and present, while at the same time firmly rooted in jazz tradition, it’s a path that’s naturally crossed those of the many different artists he has worked with live and in the studio, including Maceo Parker, Tania Maria, Salif Keita, Mark Turner, John Cale, Suzanne Vega, David Sylvian, Hector Zazou, Ryuichi Sakamoto, Andy Bey, Michael Leonhart, Donald Fagen, Dead Can Dance, Magic Malik, David Fiuczynski, Wayne Krantz… Standing back from the limelight, he’s also, with boldness and finesse, produced albums for Brisa Roché, Nelson Veras, Stéphane Guillaume, Greg Zlap and Lilicub.
Yvinec conceives his own projects with independence of mind, either alone or in the company of talented acolytes. His first album, the electro-jazz manifesto Recycling the Future, was released in 2002 and brought him international acclaim. He also works frequently with pianist Guillaume de Chassy, with whom he’s just recorded a fourth collaborative venture, calling upon the services of Paul Motian and Mark Murphy. This follows on from its three predecessors, Ghost of a Song and Chansons sous les bombes with André Minvielle, and the dreamlike Wonderful World, which reveals the universality of the great American standards. Yvinec has continued to explore these themes in other projects, notably Old Wine New Bottle – a singular instrumental formula he also presented live in 2007, in which acoustic and electronic instruments share the stage with Baschet crystals and toy instruments – and the élégant album The Lost Crooners, on which he is joined by Nelson Veras, Stéphane Galland, Médéric Collignon and Benoît Delbecq.