Bertrand Denzler


Pierre-Antoine Badaroux – alto saxophone

Bertrand Denzler – tenor saxophone

Fidel Fourneyron – trombone

Louis Laurain – trumpet


Since 2013, this quartet play different versions of «Horns», an evolving composition by Bertrand Denzler that evokes a mutating chord filled with beatings and frictions, the sound being structured by the crossed strategies of the musicians.

They also performed as Horns+ with the addition of Richard Comte, Jean-Sébastien Mariage, Maxime Petit, Antonin Gerbal and Will Guthrie, playing pieces by Pierre-Antoine Badaroux, Bertrand Denzler and Antonin Gerbal.

Horns has recorded some parts of a dub composition by Diatribes (Cyril Bondi and D’Incise) to be released soon.



B. Denzler, Horns+ «Horns+» Remote Resonator (2017)

B. Denzler, Horns «Horns 2.1» Remote Resonator (2016)

B. Denzler, Horns « Horns 1.2 » Confront Recordings (2015)



Pierre-Antoine Badaroux

Fidel Fourneyron

Louis Laurain




It’s a remarkably disciplined work in which the four winds work within a narrow pitch range. The instruments lose much of their distinctive character – one is only occasionally struck by the perception “That’s the alto,” or “That’s the trumpet.” This loss of identity arises from the narrow pitch range and the frequent oscillations or beat patterns that develop, so that it seems, in a sense, that the walls and air of the studio are themselves participants in the act. It’s this ambient co-ordination of architecture, instruments and musicians that brings a profound depth to much of Denzler’s music.

– Stuart Broomer, Point of Departure


The result is extremely enjoyable music to get lost in, to contemplate both the individual strands and the overall effect, simultaneously or flickering back and forth. Beautifully played, simply conceived and, as with “morph”, a welcome addition to Denzler’s discography.

– Brian Olewnick, Just Outside


Tenor, alto, trombone and trumpet blend and overlap long sustained notes, with each musician making subtle alterations within narrowly defined constraints, in order to keep the music forward.

– Daniel Spicer, The Wire


Aber wenn auch die erhabene Euphonie einen auf hohe Berge (weit entfernt von Wirtschaftsgipfeln) versetzt, der Tenor hier ist weniger alpin als tibetanisch, er erscheint mir in einer außereuropäisch anmutenden Manier mönchisch und rituell. Statt das Ego aufzublasen, dient diese Musik der Seelenberuhigung und der zeitvergessenen Versenkung.

– Rigobert Dittmann, Bad Alchemy


It cannot be called a drone as it never settles down to a steady state but is in a constant state of flux created by every decision made by each player. Those decisions are not entirely free but are constrained by Denzler’s composition, with the consequence that the four instruments fit together well, combining into a piece that makes fascinating and satisfying listening.

– John Eyles,