Juste une Trace



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RETROUVAILLES from Second Trip by Night Bus
BLACKPOOL GIRL from Second Trip by Night Bus
Double Reward for NIGHT BUS !

Double Reward for NIGHT BUS !

Gary Brunton is proud to announce the imminent arrival of SECOND TRIP by Night Bus. The new album was recorded at Studio Sextan in December and is currently in the last stage of fabrication. Its release is programmed for April 30th 2021.

The line up remains unchanged with Gary Brunton (Double bass), Bojan Z (Piano) and Simon Goubert (Drums), but expect the unexpected… especially with the collaboration of session producer François Jeanneau.

Good news never comes alone. Just after initiating the production of the second album, Juste une Trace has also been rewarded. The American magazine DownBeat has recently released its selection for best album in 2020 … and the first Night Bus album, is in this selection! The only production to have been made in France by the way!

From an interview with Antoine Martelli (Juste une Trace), Gary Brunton presents SECOND TRIP by Night Bus in 6 three minute episodes, in a very cool format. The video footage has been edited by Mirko Lafrenière.

If you want to know more about SECOND TRIP, please check out these short videos, in any order you like!

Jazz, a pure and renewable energy

Jazz, a pure and renewable energy

It is the 1980's. Composer and musician Georges Beckerich has some strong memories from his early beginnings in jazz, the learning/apprenticeship of this kind of music which immediately appeared to him as essential, existential.

Georges Beckerich made his first steps in the jazz class of Marseille conservatory directed by Guy Longnon. For us, he remembers his first encounter with him, a surreal one.
"I find myself in a little iron building, with a roof made of corrugated iron, like a prefab, in the middle of the yard. Guy is late. When he arrives and opens the room, I see music instruments, drums, amps, a piano in the center. Under the piano, there is a puddle, and in this puddle, a dead rat with its paws up, on his back. Several of us sit for the entrance audition. When Guy calls me, the glass of my watch exploded … If this is hell I would gladly go there !".

Georges Beckerich expresses very clearly the reasons of his attraction for jazz and many musicians think like him. Here are his main sources of motivation that we share with the greatest number:

  • - being free to act on all harmonic, rythmic and melodic aspects,
  • - defining some new rules according to the standard "climates",
  • - listening to other musicians and being listened to by them second after second,
  • - inventing, composing, arranging and having moment of grace where individual impro or collective impro brings us to both an artistic complicity and artistic complementarity that sharpens every sense. Mindfulness.

For Georges Beckerich, Jazz is pure and renewable energy.

Laurent Bonnot Influences

Laurent Bonnot Influences

Composer and bass player Laurent Bonnot has no will to attach himself to a particular musical genre. His music is a fresq that presents varied landscapes, free and easy to access, in the Jazz family.

Watercolors and oil paintings follow one another to support an always fine and delicate writing, which he performs freely, with Marc Copland on the piano, Ramon lopez on drums and Gueorgui Kornazov playing the trombone. Without wanting to compare with the great French composers of the early 20th century, Laurent Bonnot qualifies his new album Impressionist.

Les Nymphéas by Claude Monet - le bassin de nénuphars at Giverny - Photo Edith Gaudy

« My influences, I have some, obviously. As for my instrument, there are two bass players who speak to me : Steve Swallow and Carles Benavent.
I admire them a lot, but in terms of my aesthetic, there are only those two. Otherwise, my references are saxophonists (Bob Berg, Chris Potter …) and guitarists (Abercombie, Frisell, Nguyen Lê) .»

Les Nymphéas by Claude Monet - le bassin de nénuphars at Giverny - Photo Edith Gaudy

« I didn't write SONGS FOR OSCAR with a particular aesthetic in mind, but more in ways of composition. Themes from the end are often palindromes of the theme, there are a lot of key changes, often one per measure. There are also a lot of rythmic equivalence and odd metrics.»

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