They are not exactly pieces by Satie as the master wrote them, but rather some of his more obscure pieces as seen through the prism of Japanese pianist Fumio Yasuda, himself a famous composer and improviser. Yasuda takes things in hand and rewrites them for his piano-clarinet-cello ensemble, the clarinet being sometimes replaced by the saxophone. Of course, he does not modify the original basis, but the balances are redistributed, some moments are improvised (in particular in Cinéma and jazzed-up Tendrement), others call for a prepared piano – Le Tango, a somewhat crazy piece during which cellist Julie Läderach narrates Saties funny indications ; and as the piece is a perpetuum mobile, this opens the way to some weird stuff – and anyway the pieces are sufficiently unknown by the general public so that Yasuda does not risk to hurt purist minds. Undoubtedly Satie, with his factious and subversive mind, would have appreciated these metamorphoses of his music the modernity and malleability of which is and remains a marvel. © SM/Qobuz