Clotilde is a French vocalist, improviser, song-writer, performer, flutist, and educator. She entered the Conservatoire aged five and studied music for fifteen years, focusing on flute and singing.
Her artistic approach stands at the crossroad of various musical influences. She blends together Latin, African, pop sounds and jazz improvisation, attesting to the wonderful melting pot that is jazz.
Poetry and the inner music of words also hold a key place in her artistic world. Clotilde aims above all to challenge what can be done with song and with the voice in order to reach her full expression, escaping from standard configurations to express her love for freedom.
“Her true purpose: challenging both song and voice in order to reach their full expression.” Obari Toshio – JazzCritics (JP)
“To sing is to contribute to the world’s happiness”, murmurs Clotilde in her dulcet tones.
“I want to be a singer or a psychoanalyst when I grow up,” Clotilde wrote in her diary as a child. While studying for a Masters in Management, she wrote and directed her first musical, Georgia, which played to packed houses at the Bataclan (Paris). This was when Clotilde realized that music and the stage were much more than a crazy fancy, but a real, vital necessity for her.
“Her nimble mezzo voice is seemingly raising from some faraway place, like the essence of the soul’s breath, a pure necessity to sing.” Laurent Valéro – France Musique Radio (FR)
So she made a dramatic change in direction.
The most striking thing when you first listen to Clotilde is the rich, deep timbre of her mezzo voice, “She has a gripping voice, with a certain wonderful gravity, putting us in mind of Nina Simone.” Jean-Marc Gelin, Jazzman (FR).
Next, you realize the fascinating, stupefying, singular fluidity of her voice, and the agility with which she transforms it according to her inspiration. She turns her voice into an adaptable instrument to communicate what she wishes to convey.
“She has such great control of the voice and her material that she holds you, fascinated, in the palm of her hand (or, more accurately, vocal cords). […] Clotilde is an extraordinary talent.” Lynn-René Bayley, Fanfare Magazine (USA)
“A most wondrous thing takes place when Clotilde sings — wordlessly, sometimes… then using a given lyric. She seems not to beam her ‘vocalastics’ through the electronics of a modern microphone, but rather through a gigantic prism that in turn rotates on an imaginary axis, controlled it would appear, by the power of her will.” Raul da Gama, Latin Jazz Network (CA)