Louis de Mieulle
French bassist/composer living in New York
Paris born bassist-composer Louis de Mieulle started his musical education at 7, playing the cello. Rebellion through rock’n’roll bass guitar. Eventually graduated from the National Conservatory of Paris (classical writing). In 2006, won a composition contest in Tours (Fr) with the opera “Tres Para Una”, co-written with Augustin d’Assignies and Edward Greaves. Moved to the Land of Donald to attend the Berklee College of Music. Now between NYC leading his own band, and France as a member of Moonsüün.
2011: first solo album “Defense Mechanisms”. Recorded in Brooklyn with Berklee comrades Matt Garstka (drums) and Casimir Liberski (piano).
Is there such a thing as “math-jazz”? I’ve no idea, but it will have you tapping your toe and scratching your head at one and the same time. (...) An engaging and sometimes challenging, but always entertaining listen (...) (Roger Trenwith - DPRP)
2015: second LP, Stars, Plants & Bugs (Dalang!Records). An impressionist concept-album with psychedelic and prog rock overtones.
The arrangements drift seamlessly from modernistic electronic and sci-fi fuzzed bass backgrounds, to venture forth across spacious cosmic vastness, to dropping in on rarefied alt-lounge jazz piano respectfully paying homage to ancient wonder. [Roger Trenwith - The Progressive Aspect]
2017: DUAL, a collaboration with drummer Matt Garstka, featuring three guitarists (David Potaux-Razel, Aki Ishiguro, Jussi Reijonen). Postmodern classical melodies by Louis, written over Matt’s Math-grooves. The underground modern jazz album you didn’t know you needed.” [Dave Tremblay - CTEBCM?] A spidery, hypnotic beast (...) A truly impressionist and modern architecture. If you have an ear for true progressive music, you need to hear this. (Roger Trenwith, The Progressive Aspect).
2018: “Outside The Square”, second part of that collaboration. Retrofuturistic synth-prog experiment. Symphonic synth arrangements illustrate the inner conflicts of a cyborg with artistic tendencies. “The two astoundingly creative musicians take progressive rock and jazz fusion into more synth-heavy territory” [Dave Tremblay - CTEBCM?]
2019: “SIDE$HOW, a cosmic jazz-groove journey recorded live in the studio. Radical sidestep from previous through-composed albums, Side$how is a suite of improvised variations around a simple ostinato. Featuring two keyboardists (Cas Liberski and Eitan Kenner). A constantly-engaging blend of ambitious instrumental progressive rock with many trappings of jazz. Touches of electronic genres and krautrock crop up throughout. (The Elite Extremophile)
2019: MOONSÜÜN's debut album. 100% improvised minimal repetitive acoustic meditations.
2020: SID€SHOW 2, circus freak-jazz reverie interpolating emotional counterpoints, ambient synth-hop, and disjointed dissonant riffs. Another chapter in Louis' post-Canterbury neoclassical fusion. Icy tones. Especially of note here is de Mieulle’s bass tone. It’s a crunchy, biting tone, and this tonal aggression fits the darker mood of Sid€show 2. (The Elite Extremophile)
My Jazz Story
I love jazz because...
...of the unexpected
I was first exposed to jazz...
...in that music school where they put me in a jazz ensemble, because there were no
bassist seat available in the rock ensembles. At first I was disappointed, then I discovered a
The best show I ever attended was...
Bartok: Miraculous Mandarin/Music for strings, Boulez, 1997.
Chick Corea and Origin, 1999.
Charles Koechlin, complete Jungle Book, 2006.
Also some unknown musicians here and there.
The first jazz record I bought was...
Bill Evans: "You must believe in Spring"
My advice to new listeners...
"Don't give people what they love, but something they might love one day" [Jacques Chancel]