Tro ar c'hazetennoù  
Jean Michel VEILLON
Jean Michel Veillon débute la flûte traversière en bois en 1977.
Il devient vite l'un des tous premiers flûtistes à faire entendre cet instrument dans des formations bretonnes de concert ou de fest-noz (musique à danser). Parfaitement identifiable, son style s'apparente à la tradition du chant (kan ha diskan) et des instruments traditionnels bretons (bombarde, treujenn gaol).
Jean-Michel a joué dans plusieurs formations :
  • KORNOG,
  • PENNOU SKOULM,
  • DEN,
  • BARZAZ,
  • ALAIN GENTY,
  • JACQUES PELLEN et CELTIC PROCESSION,
  • et en duo avec Yvon Riou
  •  Distreiń d'ar stal 
     Distreiñ 

    Jean-Michel toured Europe and the US extensively in the 1980's as a founding member of the highly-praised Breton groups KORNOG, PENNOU SKOULM, DEN and BARZAZ before turning to a solo work period in the 1990's as his primary metier, often backed by guitarist Yvon RIOU. But he also took part in various musical experiments like L'HERITAGE DES CELTES (DAN AR BRAZ), CELTIC PROCESSION (Jacques PELLEN), FLUTES DE TRAVERSES (Kristen NOGUES)…
    Widely credited with introducing the traditional wooden flute into Breton folk music, and primarily responsible through his intensive teaching efforts and hundreds of concert and festival appearances for its widespread adoption among many dozens of young musicians throughout Brittany, Jean-Michel has achieved widespread recognition as one of world's premier traditional flute players :
    « Many prominent flute players, including John SKELTON (of the HOUSE BAND), view Jean-Michel VEILLON as the finest simple-system flute player today. His first solo album E KOAD NIZAN is especially beautiful and powerful, with brilliant playing throughout.»
    Brad HURLEY - Irish Flute Guide - USA

    Jean-Michel VEILLON's first solo recording E KOAD NIZAN displays his mastery of the flute, knowledge of Breton musical traditions, and creative artistry as a composer and arranger… The dance tunes are delightful and float lightly, and the slow melodies are embellished elegantly with slides and gracenotes that give the flute all the expressive potential found in the human voice. The music sings.
    His second album PONT GWENN HA PONT STANG unites him with the talents of guitarist Yvon RIOU. The combination of transverse flute and guitar makes for a relaxed breathy texture. This is music where every note is in place and produces a regal, almost stately aura (…) Jean-Michel captures the best essence of the Breton tradition, while he can whip up a storm on a set of Irish reels(…)
    PONT GWENN HA PONT STANG captures Jean Michel VEILLON and Yvon RIOU in their prime.
    John O'REGAN - BBC Radio - ENGLAND

    If you have any interest in the flute, folk or otherwise, Jean-Michel Veillon’s recordings are, like Matt Molloy’s, indispensable. They’re the only flute players, outside the classical field, that can be mentioned in the same breath and Veillon’s albums are also essential as he is at the forefront of modern interpretation and development of the Breton musical tradition.
    Jem Hammond - Taplas - Sept.1999

    Although there are an increasing number of great flute players in Brittany these days, the name that pops up first has to be Jean-Michel Veillon, a veteran of the groups KORNOG, PENNOU SKOULM and CELTIC PROCESSION, and today primarily a solo performer. (…) Like most of the musicians who grew up musically in the 1970s and 1980s in Brittany, he has only gotten better with time, not only in a flawless mastery of the flute (and whistle), but with a more complex expression and ever-widening understanding of style.
    Loïs Kuter - Bro Nevez – USA August 1999

     Distreiñ