"French trombonist Christiane Bopp strips the instrument down to breath, metal, vibration, and raw physical gesture on her new solo recording. Using voice, mutes, and extended techniques, Bopp transforms the trombone into an unpredictable field of whispers, drones, fractured melodies, and sudden eruptions. The result is deeply intimate improvised music that moves between delicate precision and overwhelming force."-Relative PitchFrench trombonist, vocalist and improviser Christiane Bopp continues her deeply personal exploration of the trombone as an entire acoustic environment on Rêver, murmurer, dire, a solo recording using trombone, voice, bass drum and objects. Recorded over two days in Poitiers, the album extends a solo practice Bopp has developed across years of work in contemporary music, free improvisation and earlier forms of brass performance.

Rather than treating the trombone simply as a source of pitched lines, Bopp works from its most elemental materials: breath, metal, vibration, resonance and physical gesture. Voice and instrument frequently blur into one another, while mutes, objects and extended techniques open the horn into whispers, drones, fractured melodic fragments, granular noises and abrupt eruptions. The bass drum adds another resonant body, expanding the music outward from the intimacy of breath toward larger fields of vibration.

Bopp's broad experience - from historically informed performance and contemporary composition to collaborations with improvisers including Joëlle Léandre, Dominique Pifarély, Marc Ducret, Sylvain Kassap, Ingrid Laubrock and Tom Rainey - feeds a language in which precision and unpredictability coexist. Her solo work is particularly revealing, stripping away ensemble roles and allowing minute decisions of timing, timbre and dynamics to become structural events.

Following her earlier solo album Noyau de Lune, Rêver, murmurer, dire deepens that investigation into an intimate form of spontaneous composition, moving between fragility and force while continually testing where instrumental sound ends and embodied sound begins.