top of page



"Robert Schumann, Alban Berg, Maurice Ravel, Claude Debussy, Arnold Schoenberg, Georges Brassens – non-exhaustive list – play hide and seek with Louise Jallu and her bandoneon bandleader in a game where the back and forth between past and present are going well. Goose game Louise version or Jallusian process (one ear in the retro, the other in the unheard) on the Janusian model? In her compositions, Louise Jallu plays with references by renewing her identity as in a stunning role-playing game."

Pierre Gervasoni


“Too few are those who have been able to rise to the height of this statuary monument during his lifetime, remaining only on the surface when this multifaceted personality invites a much more complex reading. It is this Himalaya that Louise Jallu dared to climb. Far from sinking into pale copy, Louise Jallu adds her comments, notably opening spaces for improvisation, even if it means taking the bias of a certain irreverence to demonstrate all the better all her deference towards the Argentinian . History of sticking to the singular post-modernity which inhabited his work. As if it were obvious. »

Jacques Denis


"A very astonishing album than that of Francesita by Louise Jallu, this very young bandoneonist – so charismatic and gifted –, this Frenchwoman who offers us here a frank, sensitive and sometimes distanced look at certain themes written by one of the princes of Tango, Enrique Delfino (1895–1967), on arrangements known by Máximo Mori, but also and above all on his own arrangements: Francesita, Araca Corazón, Griseta... So many titles by Enrique Delfino, so many names of women who were victims of what was commonly called the white slave trade, women from all European countries, kidnapped and condemned to live and die in the brothels of Argentina – a country with a high male density at the time of the 1920s It was after reading a book by Albert Londres (La Tratraite des Blanches) that this unique project was born."

Bernard Cavanna

bottom of page