Sélène Saint-Aimé Mare Undarum

Picture Sélène, a young schoolgirl, walking through the aisles of the Django Reinhardt festival at Samois sur Seine, near Fontainebleau in the Parisian suburbs - just a stone’s throw from the village she lives in. She is just fourteen, or fifteen, and is working as a volunteer among all these musicians who compose a world she is not yet fully aware of. Of course, she seems intensely drawn to this music she has become acquainted with over the passing years. Her spirit and fingertips have been set in motion, her interest in the guitar has peaked (which seems obvious, seen the place!) but she is lacking genuine conviction. “And then, at 15, at a concert, I fell for the double bass. Why at this exact moment? I really don’t know. But it was love at first sight. In hindsight, it’s easier for me to explain – you can play the double bass, even as a complete beginner, and this is impossible with a violin; you always need a base with jazz; and ultimately, it’s a magnificent instrument. I like the wood, the shape, the size, the sound - everything.” After leaving school, Sélène Saint-Aimé registered at the Paris College of Music and the Conservatoire de Boulogne where she studied jazz, classical music and bowing technique – the repertoire of the double bass opened its doors wide. In July 2016, she met Steve Coleman, then in residence at Montreuil. This was a revelation. She felt attracted to his demanding brand of jazz music, made of improvisation, music thanks to which she felt she could readily express her creativity. Now picture Sélène, aged around twenty, conquering yet discrete, upon her arrival in New York following the advice of Steve Coleman. She has been to the most prestigious jazz clubs under the benevolence of highly esteemed elders. She is watching, listening, observing and learning. She has attended classes taught by Ron Carter. And followed Steve Coleman during his residencies and master classes. You could do worse when it comes to mentoring and honing your art. This period of her life was very rich - she shared her time between France and the US, between work and play, between an intense present and an emerging future. Finally, picture Sélène, back in Paris, determined to play, to play once more, above all to play. She is looking for the right formation, the right music, the right colours and vibrations. She did end up finding them. “I took part in a lot of concerts back in Paris: I played with several musicians. I saw what worked, what didn’t. I’d change as I moved forward. My work is highly intuitive. I taught myself composition. I hope that soon, I’ll manage to work with the formation that suits me best: a basic string trio, double bass, cello, viola or violin.” In June 2019, Antoine Rajon, head of jazz label Komos at Astérios Spectacles, suggested Sélène Saint-André record an album of her own compositions. Her first. She was given free reign and her inspiration was limitless. Mare Undarum was born between the walls of the Studio Pigalle during galvanizing recording sessions where composition and improvisation made such great bedfellows – a combined effort.