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Oboman: Oboe, Oboe d'Amore & English Horn

Dider Ithursarry: Accordion

The improbable dialogues between the poor man’s “piano with straps”, invented during the industrial revolution of the 19th Century, and the ancient aristocratic Oboe, which came to fame during the 18th century… finally take shape and come to life, thanks to the encounter of Oboman and Didier Ithursarryl.

These instruments are neither of the same lineage nor of the same rank: Jean-Baptiste Lully introduced oboes to the French Court of Louis 14th; hordes of oboes, in various sizes, made a great entrance into the music of the Musketeers. And yet, both instruments come from the same family: the family of wind instruments…. One chose free reeds, the other double reeds. But above all, what matters most is the vibration, breath and air. Irony of history: the smallest of the family is known as the piccoloboe… what a strange relative!

A one-man orchestra, the accordionist produces the rhythm, melody and harmony: a man of all trades! The destiny of the oboe from its earliest years at court is to sing the melody.
As for the sound produced by our two free blowers, it is not banal. Here is how you can judge for yourselves:
- Take a few original compositions by our two troubadours.
- Add a few musical gems borrowed from illustrious jazz minstrels from neighboring countries, not forgetting a zest of traditional airs.
- Sprinkle all over with a breath, some tricky fingering and a brilliant imagination.
And you will get Oboreades, an unforgettable musical experience.

Didier Ithursarry, Basque and accordionist at the same time, studied music at the Bayonne conservatory before joining the accordion class of the Orsay National Conservatory; he brilliantly gets the highest awards.

In addition to his serious musical studies, he takes the time to enrich his know-how and multiplies musical experiences by playing with Alfredo Arias and Annie Fratellini, accompanying Clarika, Juan Carlos Caceres, Susy Firth, Sanseverino ...

What do you think happened then ? Claude Barthélémy, director of the national jazz orchestra, noticed him behind François Béranger and invited him to join the new version of the National Jazz Orchestra. He played there for three years, from 2002 to 2005 and participated in the recording of two very beautiful records : "La Fête de L’Eau" and "Admirabelamour".

Didier Ithursarry, a musician on the lookout, easily moves from one world to another. With a curious temperament, eager for meetings, he evolves in the trio of Jauvain - Ithursarry - Bras, in the quartet of Serge Luc, that of Marco Compo, the quintet of Claude Barthélemy, and more recently the quartet of Jacques Vidal, Frédéric Sylvestre and Florine Niculescu, but also the “Danzas” ensemble by Jean-Marie Machado, in trio with Sébastien Llado but also collaborations with Marc Ducret, Louis Sclavis…

He belongs to this line of post-war French accordionists who were inspired by jazz and gypsy swing, with repeated collaborations between Jo Privat and Django Reinhardt from the start of this movement. Trained in "Musette", they were able to intelligently integrate the essential elements of this new musical current and thus revolutionize the world of the accordion: pioneers such as Gus Viseur, Charley Bazin, Tony Murena and more recent heirs such as Marcel Azzola, Richard Galiano, Daniel Mille ...

"A staggering accordionist" - Michel Contat, Télérama

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