This trio, in the springtime of its life, is currently looking for dates around Europe (that is: when Linley Marthe and Stephane Galland are not touring with Joe Zawinul) and preparing its first recording. Geoffroy de Masure is developing a generous and dense playing style, expanding the expressive palette of the trombone, conferring on it a place of choice.

Its interest in rhythm and proportions is evidenced in compositions stemming from original concepts. Linley Marthe brings his magnificent tone, deep groove, natural ease so rare on his instruments, and the combined influences of Jazz and African music – elements that make him an extraordinary musician to discover without fail.

“It was by accident that I got in touch with Linley Marthe. Normally, Guy Akwa Nsangué, a bassist from Cameroon, should have accompanied us on this tour, but when he noticed that it would also lead us to destinations like Russia and Ucraine, he realized that he had no visa for these countries, which forced me to look for yet another bass player less than two weeks before our departure! And all that because of Etienne Mbappe, who in January, at the end of our tour in America, suddenly pretended he didn’t know we had planned this European tour! Unfortunately for him, Linley Marthe happens to be a better musician. Etienne is a master player, but only when he wants to and I can’t afford to play with musicians I can’t rely on.” (Joe Zawinul)

Stéphane Galland now a member of “The Zawinul Syndicate” is a highly sought after drummer in Belgium. He is recognised for his unique and original approach to his instrument, an interactive, poly-rhythmic playing, a full and powerful sound, and his astounding capacity to surfer with equal ease on the complex waves of the Afro-American or Camatic music, combining mathematical speculations with intuitive improvisation and is a member of the bands Aka Moon and Greetings From Mercury.

In reviewing Aka Moon's album Aka Moon Guitars, Phil DiPietro of All About Jazz wrote of Galland: "The heavy hitting, polyrhythmic playing of Coleman's Gene Lake and Gilmore's Rodney Holmes comes to mind as a point of comparison to these ears, but Galland certainly has his own thing and his own touch happening, acutely technical skin work on par with the Bozzios and Chambers' of the world. Galland shows he's as familiar with the intricacies of the highest levels of progressive rock drumming as with funk-fusion and odd-time styles. Drum-heads looking for a new fave would do well to listen to this triumvirate of tunes before continuing their search."