TRIBUTE TO ANDRÉ “SLIM” PEZIN

Slim Pezin’s wife Chantal Ayissi, as well as his children and loved ones, are sad to announce that our Dear Slim left us this morning, after a long fight against illness. We keep the memory of an exceptional being, an accomplished and passionate musician. Slim is a Legend among Studio musicians. He was always keen to defend the rights of his colleagues.
May he rest in peace. (January 18, 2024)

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Slim Pezin started playing guitar at the age of 17 before forming a band with childhood friends and then working with singer Noël Deschamps.

After pop and rock, Slim Pezin turned to RnB, playing alongside Manu Dibango from 1966 and then to blues, working on T-Bone Walker’s album in 1968.

From the 1970s, he collaborated with the greats: Michel Sardou, Nino Ferrer, Mike Brant, Sylvie Vartan, Johnny Hallyday, Charles Aznavour, or Claude François, whose orchestra he led.

In the 1980s, he was part of the adventure with the group Voyage.

He also contributed to film music as a musician/composer (6 Days & 7 Nights, Betty Blue, Balzac, Beautiful Mother, Belphégor… the Phantom of the Louvre, Brice de Nice, The Fugitive, Himalaya… the Childhood of a Leader, Love in Disarray, The Libertine, The Mysterious Doctor Cornelius, The Child Who Wanted to Be a Bear, The Chorus, Harrison’s Flowers, Our Happy Days, A Few Days in April, Evening Dress, Ulzhan, The Bridge Between Two Shores, Viva Cuba…)

Slim Pezin was also a great collector of guitars, microphones, keyboards, and vintage instruments.

He passed away on January 18, 2024, at the age of 78.

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INTERVIEWS WITH SLIM PEZIN

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About the beginning of the collaboration on “Maman a tort”

At that time, Jean-Claude Déquéant was working a lot with Yves Simon. In his apartment in Aubervilliers, we did the first recordings. Initially, nobody spoke to me, Mylène stayed in her corner, not saying a word, as she is naturally shy. I mainly dealt with Jean-Claude who was directing us. Gradually, we got used to each other. Compared to the mid-80s style, Mylène had a very high-pitched voice, I think she really sought to stand out.

The arrival of Bertrand Le Page was crucial. He contributed significantly to Mylène’s success. I think he brought refinement to her. He had already supported other performers like Buzzy, Jackie Quartz, Fabienne Thibault. At that time, everything was going well for him. I remember filling out the Sacem declaration forms at his home when Mylène’s first songs were released.

About the “Tour 89“

Mylène is a real hard worker. Before her first shows, she trained and did her 5 km a day with “Rambo” (Hervé Lewis), not to mention 3 or 4 hours of dance every afternoon… May 11 was the warm-up concert. In Saint-Étienne, the entire record label staff was there, even Marc Lumbroso came. Mylène was a bit nervous, she asked me if I would drive her back to Paris with my car after the evening. So, the three of us left – with Patrick Bourgoin, the tour saxophonist. She said a few friendly, kind, trivial phrases like: “okay, guys, blah blah… I’m going to sleep.”

You always have to fall for her! In reality, she gave us royal peace until we reached Paris at breakneck speed. Back then, it barely took 4 hours to go from Saint-Étienne to Paris. We dropped her off at her home. We appreciated that she asked to go back with us. For several weeks, she had been setting up her show, she really had enough of that whole environment weighing on her. Probably, she wanted to isolate herself and spend time with two “natural” people. She invited us to have tea at her place. It seemed like “a buddy”, no longer “Mylène Farmer”. Out of discretion, we didn’t follow, and everyone went home.

During concerts, some artists deliberately isolate themselves, dig a trench or have a court around them. When we toured together, Mylène didn’t have a “court”, just close people like Paul Van Parys, who worked with her within her company. He took care of everything. There was also a girl named Emeline, and Laurent. Him, ultimately, we all knew him quite poorly. I went a few times to the castle he bought in the Somme, about sixty kilometers from Paris, but he was a bit of a “hermit crab”! We know that Mylène was raised by nuns, there’s something like that: a kind of apparent virginity, that’s what bothers me the most in my relationships with her…

About the playback rumors

There was indeed a “tape player” running during the first shows. But, just for effects, siren sounds or chain noises that we can’t reproduce on stage. Initially, she placed herself above everyone else and part of the profession tried to find all her faults! I received phone calls: “So, is it true that she doesn’t sing, that everything is on tape?” But no! Unlike other girls who, contractually, at the beginning of the 2000s committed to not singing live on stage (unless the two computer tape players break down…), Mylène really went for it!

About her generous fee for TV appearances on “À quoi je sers…“

That’s her good side. She wants me to be well paid, buys me a nice suit with superb shoes. She wants to see me like that, it’s very touching.

About the charm of Mylène

Emotionally speaking, in the orchestra, there are 2 or 3 who are like Tex Avery’s wolf. I particularly think of Patrice, the sound engineer, who goes running with her every morning. He falls in love with all the singers! Once, we were in Le Mans, Mylène said to me: “This afternoon, come with me in the car.” That day, I accompanied her so she wouldn’t be too bothered…

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About Laurent Boutonnat

Laurent Boutonnat, I know he studied with the Jesuits. It’s true, he has the manner of people raised by Jesuits. In the second part of my life, I start to recognize “those who have received a religious education and the others”! More seriously… Laurent is someone quite extraordinary, self-assured, talented in imagery and in making people dream.

With the musicians, we didn’t have any relationship with Thierry Suc, the producer, we were “directly” with Laurent and Mylène. Personally, I’ve known them since recording “Maman a tort”…

About his relationship with Mylène

Mylène is the female Claude François! From the first concert in Saint-Étienne, I felt the atmosphere I had encountered at Claude’s galas. I had a little flash and found this atmosphere with the audience singing her songs. All young people! It was like that, everyone was singing. I felt like she already had 10 years of show experience behind her, she was so in control. It’s rare for an artist, for their first big stage. The image we know is a bit behind the scenes. The public has a vision of Mylène as an inalienable, unassailable person, out of reality. In the end, she’s like everyone else (well… almost). When the show was over, Claude always called two or three people (we said: it’s “Cloclo’s trifecta”) to fire them, it was to correct the course. Two hours later, he forgot, and everyone was reinstated!

Sometimes, Mylène asks for a musician, a dancer in her dressing room after the concert. At this level, she is the artist closest to Claude François. Not all singers are like that, so professional. For some, what interests them is the balance sheet! What will fall! I might be mean, but still, we know a few who are really tough! Of course, they are playing their lives, we can’t discuss, they are in front and we, we are behind, it’s much cooler. I accept, but we know who is who, who does what and who is how! Mylène always stays away from the profession. When she had us make costumes by Thierry Mugler, she specified they would be like that! She talks directly with Mugler. Unlike other artists, who delegate a lot, she keeps an eye on everything. Mylène knows what she wants! It’s true that we imagine Laurent Boutonnat deciding everything.

She takes people into her thing, and she goes all the way. Mylène is what she says, what she sings with references to her journey. Of course, there is certainly her actress side, but she really lives it. When we are in rehearsal, it goes beyond what we can imagine.

I feel that she is looking for her prince – as she says in her songs. Often, at that time, we have discussions together, I feel her that way: always looking for her prince. Strangely, because of the privileged relationships I have with her, one day, during a meal at Guy Savoy – perhaps something didn’t please her – she makes a remark to me, just like that, in front of about fifteen people, and there I react violently, I don’t mince words. She provokes me and I respond to the height… not of her cruelty, but of something very bizarre. She accepts and takes a small smile, it passes and we don’t talk about it anymore. But it can go very far, in the moment, in 10 seconds, it’s curious… I try to understand (“Where does she want to go?”). I try to interpret her provocation and I become aggressive, it comes out as if it wasn’t me!

At that time, I find that she plays, she manipulates a bit, somewhere… Fortunately, usually, contrary to this furious anecdote, at Guy Savoy, everything goes well, Mylène is a very balanced girl: in the morning, she gets up early and goes jogging…

Mylène is really apart in the profession. She has a lot of qualities. It’s important for us, the musicians, to be able to talk to her about other things than the profession. There is no obstacle, Mylène doesn’t think only of herself and her ego, she is free. At that time, I read the books of Helena Petrovna Blavatsky, a Russian who was born in the 19th century and ended her days in France around 1930/1940, she translated 5 books from Sanskrit, it’s quite fascinating. Mylène seems very interested.

In our profession, people are either very wild or very selfish. I think the first quality of an artist is to be egocentric.

Despite incredible marketing, the singer remains totally “outside” of the profession. I can’t compare her to other artists, she is “elsewhere”. Laurent and Mylène have well isolated themselves from the rest of the profession.

Even though we no longer work together, I have to acknowledge that Mylène is someone ‘who remembers’. In this business, not many people have that quality. I don’t use the word ‘gratitude’ – there’s no such thing (laughs)! We musicians know what that’s like! But with Mylène, if we pass each other, we won’t just cross paths and say a quick hello: we’ll stop, talk for half an hour, and get into details. That’s how it is, I’ve always had a special role with her, I don’t know why, it’s really quite unique, very special.

When I see her again, she’s mixing Alizée’s album. She’s very kind to me, charming! I really appreciate her, I go to her concerts, I’m interested in her evolution. Lately, professionally, I’ve seen Mylène more for Alizée’s songs…”

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Unlike many musicians in the world of song, you started playing your instrument quite late…
SLIM PEZIN: Yes, I started playing the guitar at 17, but a set of circumstances led me to enter the studio scene very early. It seems miraculous to those who hear me in 2006, but it really happened like that! Like many young people, I formed my first band with childhood friends, and then quickly, I met the singer Noël Deschamps and participated in the recordings of his records. I listened to and played a lot of rock because pop and rock were dominant. For example, Noël Deschamps in 1964 was ‘categorized’ as a rock singer. There were also variety singers and emerging rhythm and blues artists.

Indeed, from 1968, we find you in the blues scene with an album by T-Bone Walker, alongside Manu Dibango and Bernard Estardy. How did you end up on such a project after only a few years in the studio backstage?
SLIM PEZIN: An American producer arrived in France and was hanging around clubs to spot musicians. I was playing with Manu and our group the Soul Brothers. We were doing pure R&B and he offered us to work on some albums. So, we made a record with a jazz saxophonist who came from Duke Ellington’s band, but also with great gospel musicians.”

In the 1970s, you were part of almost every adventure, from Claude François to Johnny Hallyday, from Jean-Jacques Goldman to Bill Deraime, and including France Gall during her ‘Paris-France’ period and Michel Berger for his ‘Dream In Stone’.
SLIM PEZIN: I particularly remember Michel Sardou and Johnny Hallyday. I also participated in 80% of Sylvie Vartan’s recordings. The other day, I was tidying up in Suresnes and found pay slips dating back to 1967! During those years, there were people who mattered a lot, notably Nino Ferrer and Claude François at the forefront. I really lived with Claude. Not a day went by without him calling me or us meeting at 2 a.m. in a restaurant to talk about the business. He was a tireless worker. He’s probably the one I was closest to and the artist I felt closest to.

Your 1970s were deeply marked by Claude François. You’ve said of Mylène Farmer that she was the ‘female Claude François’. Were you thinking of the loyalty – and often hysteria – of her audience?
SLIM PEZIN: It was a reaction I had when leaving the stage on the evening of her first live concert at the Palais des Sports in Saint-Étienne, in 1989. It was her very first concert. The first time she presented herself to the public, and people started singing all the songs by heart. She could have stopped singing, and we would have continued the show without any problem! Moreover, she had prepared a show where she sang, danced in the middle of a troupe, and changed costume for each song. Who else but Claude François had done that before? All this reminded me of him, there was an unimaginable force in the room and a great surge of energy in the pit. You don’t find this sensation with many artists. I went to see Mylène during the Mylenium Tour at Bercy and, even sitting in the audience, I found that sensation again.

You are one of the few musicians from that era to still be in both the friendly and professional circle of Mylène…
SLIM PEZIN: Yes, and we are on the same wavelength. We have the same understanding of the profession and the same approach to music. I hope we continue for a long time! Very often, I’m called to play on a record, and that’s it. The relationships end there and I don’t see the artists for years. Some don’t even greet you anymore. That’s not the case with Mylène and Laurent.

Your first meeting with Mylène and Laurent was in 1984, for the recording of “Maman à tort”. Where did you meet?
SLIM PEZIN: We were in the northern suburbs, at Jean-Claude Dequéant’s place in Aubervilliers, in his studio ‘Le Matin Calme’. He was an arranger and I had participated in many sessions with him, especially when he was working for Yves Simon. He himself had released an album as an artist with Polydor. One day, he called me saying he had something to do and needed my help because he didn’t know how to handle the matter… I had almost no information but I still went to the studio. That’s where I met Mylène and Laurent.

What do you remember from that first recording?
SLIM PEZIN: Probably an image of Mylène, because she didn’t say a word to me. I was impressed by this lack of speech and found it curious in a world where we were used to meeting ‘offbeat’ personalities but where words are usually quite easy. She had a strange way of singing, and for a moment, I thought she was an exceptional girl.

Did it feel like a real career beginning or were they searching for a sound?
SLIM PEZIN: They were all very involved but it wasn’t great professionalism. I felt they were searching for their identity. My wife had done backing vocals on ‘Maman à tort’ and we understood what was happening. We felt we were at the beginning of something… Obviously at the start, you’re searching. So, you’re on the defensive. Quickly, I understood that Mylène’s silence was just shyness and over the albums, this distance completely disappeared.

After the failure of the song “On est tous des imbéciles”, you set to work creating the first album. How did the recording sessions for “Cendres de lune” go?
SLIM PEZIN: The demos had been made at Jean-Claude’s. They had finally found a sound, and Laurent gave much more direction to the musicians. Over the albums, his instructions became more detailed, even though we weren’t many. Often, I was alone since he prepared all the synths and programming. Besides, I think that if ‘Cendres de lune’ and ‘Ainsi soit je…’ had been prepared in a classic way by calling an arranger, it would not have been as successful. It’s the fact that Laurent did everything himself that brought this quality and very typical sound textures that he managed to keep afterwards. From the first notes of a piece, whether it’s ‘Libertine’ or more recently ‘Pardonne-moi’, we know it’s Mylène Farmer.

Was it difficult to be a guitarist for arrangements based on keyboards and programming?
SLIM PEZIN: No, there was no problem at all. Laurent was attracted to everything that was funk and R&B. There were never any boundaries between us and our relationship has always been healthy.

The musical universe that was quite developed in the first two albums was new. Did you feel like you were witnessing the birth of a phenomenon?
SLIM PEZIN: A musician senses these kinds of things. When he has played a title, he knows if energy has passed through it and if this title can become something huge on the radio. For all the sessions I’ve done, every big hit was perceived as such at the time of recording. For many artists – but not for Mylène – it’s often the last title, the one made at the last moment, sometimes hastily, but when everyone digs deep for their last resources, that gave the best of the album. When everyone gives their best without overthinking and without ulterior motives, the results are often excellent.

Mylène’s first two albums were released like a diptych, the first in April 1986 and the second in March 1988. Did the ice break quickly in the studio?
SLIM PEZIN: Absolutely! After the first session for ‘Maman à tort’, our relationship grew and by the time of recording the first album, it was as if we had known each other for thirty years. Thierry Rogen had just acquired the Méga studio at Porte de la Muette. He had bought a console… Moreover, it was Laurent who had paid for this console. It was the first album we were making in this brand-new studio.

At the end of the 1980s, Farmer’s team was praised for its innovations, but also criticized for its megalomania…
SLIM PEZIN: No, I didn’t share that analysis. I saw no megalomania in Mylène and Laurent’s approach. Mylène is very, very intelligent. She immediately understood what the business and show business were about, the degree of ‘play’ involved, the degree of self-donation, the need for artistic integrity and her personal limits. She had analyzed the workings of the press, television, and radio. She knew where to set the barrier while setting the bar very high artistically. She often told me that she didn’t want to do just anything. She feared going astray like many artists do when it starts to work out. She saw much higher than the ephemeral hit and knew that if she was seen too much, she would tire people out. She was made to last.

In 1989, you were one of the actors in her pharaonic show. Mylène’s first concert remains an important event. Were the numerous rehearsals enough to meet the gigantic challenge that Mylène had set for herself?
SLIM PEZIN: The show had been prepared a long time in advance, both musically and physically. Bruno Fontaine and Laurent had been working on the musical concept of the show for months, and Mylène was doing her ten kilometers of jogging per day, followed by two or three hours of dance in the afternoon. She didn’t waste a single minute in training. She wanted to be fit and to endure the performance. The musicians all shared this same focus. We had a lot of rehearsals because everything needed to be perfect. From this stage, Mylène was a perfectionist, always seeking the absolute in her work. Most of the time, artists don’t have the means to do that. She had given herself the means to realize her dream and to translate her ideas. She and Laurent had, from the start, invested a lot to offer a show of very high quality

Bruno Fontaine was in charge of preparing the show with Laurent. Had you met him before?
SLIM PEZIN: He’s an exceptional musician who started his career at 13. We had known each other when we were very young on album recordings, just like the other musicians, drummer Yves Sanna or bassist Christian Padovan.

It’s interesting to see that years later, you all came together on very varied projects like Bruno Coulais’s ‘Stabat Mater’ presented at the Saint-Denis festival, where Bruno Fontaine and Jean-Philippe Audin, among others, were gathered…
SLIM PEZIN: I don’t like to use this word, but we are the ‘cream’ of the profession (laughs awkwardly), not that we are the best instrumentalists in Paris, but we are used to working together and know how to be efficient. We find ourselves on high-level projects in terms of songs, film soundtracks, or on complicated pieces like this ‘Stabat Mater’. We only had two afternoons of rehearsals for a score that included a quarter of contemporary music. Individually, these colleagues are exceptional musicians and friends. What you see as sustained collaborations, we simply perceive as logical friendship. If I have a very difficult project where I need emotion on the cello, I will call Jean-Philippe Audin. Without thinking.

Besides the phenomenal decor, the sound mass of Mylène’s show in 1989 was unprecedented. Does one come out unscathed from such a concert?
SLIM PEZIN: No, I greatly admired Laurent’s work, who was always behind every technician. Constantly. Bruno Fontaine had prepared the programming beforehand, but mainly based on Mylène and Laurent’s ideas. The show had to be done with soundtracks as there were children’s screams, creaking doors, sounds of whales and wolves. Part of the ambiance of the show was therefore on tape. Mylène never sang in playback, but the drummer had a headset with a click, and we played in this way on many titles. Everything had to be in sync. I don’t remember having played with such a sound system before. For my part, it was the first time I saw a 24-track used in concert with pre-recorded elements.

You must have felt a great sense of relief after the first show in Saint-Étienne…
SLIM PEZIN: At the end of the concert, we were all very happy because we had been preparing for three weeks. That night, we had achieved our common goal. The show was perfect. We had no problems with sound, music, lighting, or choreography. We were invited to dinner by the head of Polydor, Marc Lumbroso, who had come for the event. After that, we decided to return to Paris. Moreover, Mylène was with me in the car. She didn’t often travel with the musicians, but I remember this first time and another date during the tour when she joined us, as we had a Renault Espace at our disposal.

Did the pressure drop quickly?
SLIM PEZIN: That night, we understood that the rest of the concerts could only be more successful. Looking back, that return journey in the night, from Saint-Étienne to Paris, sums up well the relationship I have with Mylène. We hardly spoke, but there was a kind of tranquility in the vehicle. The pressure had indeed eased, but the real dialogue between the musicians and the artist had taken place a few hours earlier, on stage. As soon as the curtain falls, the show is over, and we move on. We’re already thinking about what comes the next day.

During this tour, the family gradually expanded. In the backstage, a character was very present with Mylène, Paul Van Parys, who would become one of the key elements of Farmer’s staff until today. Who is he?
SLIM PEZIN: I indeed discovered him at that time, but I didn’t really know what he was doing. I thought he was a secretary, but I didn’t ask many questions. By name, I knew his grandfather was a great composer of film music. I had understood that he was part of Mylène’s close entourage and I had met him with Bruno Coulais…

…with whom you continue to work a lot…
SLIM PEZIN: Yes, film music is one of my major activities currently. In fact, Mylène and Laurent had come to the premiere of the film ‘Les choristes’. We’ve just finished the soundtrack for the six-episode TV series based on the Villemin Affair (editor’s note: the crime involving the murder of little Grégory). We’re working on the music for three upcoming films, and I participated in the ‘Brice de Nice’ soundtrack on two rock titles, amidst pop and funk.

At the end of the 1989 tour, the team had offered Mylène a Stratocaster guitar. Was it one of your ideas?
SLIM PEZIN: I must have initiated this idea that everyone embraced. We were wondering what we could offer her, and the idea of the guitar came naturally. She had wanted at all costs to play a piece, alone on stage, on the guitar. We eventually abandoned the idea a few days before the first show because there were too many things to think about. As a counterpart, we gave her one.

Were you surprised that a shooting was organized in an empty room for the concert video?
“It was a first, and it seemed coherent with Laurent’s film project. In the end, we were almost surprised by the quality of the live video. There were ideas, strong aesthetic choices, and it wasn’t just filmed like on TV.

In the early 1990s, you went on tour with Michel Sardou. But before that, you recorded ‘L’autre…’, Mylène’s third album…
“That was the last album where I was the guitarist from start to finish.

‘L’autre…’ is a very literary album, inspired by Cioran and Bataille. It’s said that you recommended Mylène read Helena Petrovna Blavatsky…
SLIM PEZIN: That’s just a detail. We didn’t talk much about that… We talked about music through the music we were making, but we didn’t discuss much about our influences or what was happening in our lives outside the studio.

Mylène’s lyrics become more concise, more direct (‘Désenchantée’, ‘Je t’aime mélancolie’…). Did you feel ‘L’autre…’ as a transition album?
SLIM PEZIN: Yes, they tried to envision Mylène’s character ‘differently.’ She had finished her lyrics well before we finished recording the music. In any case, she already had the framework in her head. I had known her as a young girl, and I found her again as a woman with more self-confidence and sharper expression. There was also a physical change because she had cut her hair.

Alain Chamfort is a friend of Mylène, you were his arranger on his sixth album recorded in London in 1983 and on four tracks from Lio’s second album, who was then his companion. Similarly, you worked with Khaled and Murat, the only duet partners of Mylène in the 1990s? Just coincidences?
SLIM PEZIN: For Chamfort and Khaled, yes… However, I think the contact that Jean-Louis Murat had with her – since they wrote a lot to each other at the time – had led him to call me to play on a track from his album ‘Cheyenne Autumn’ (editor’s note: ‘L’ange déchu’). All this was done in the same studio and at the same time. So we really had more than one thing in common!

Bruno Fontaine was contacted for Mylène’s 1996 tour, before Yvan Cassar. If he had gone for another round, would you have followed him?
SLIM PEZIN: Maybe if Bruno had been the musical director, I would have gone back! But he had other projects oriented towards classical music, as well as the albums of Ute Lemper, for example, so he chose.

What are you currently working on?
SLIM PEZIN: I just finished recording with 80 musicians for the Charles de Gaulle Memorial under the Invalides. They’re going to create a quite unique theater space, where the audience will be as if suspended in space and watch a thirty-minute film on five screens at once with previously unseen images of De Gaulle. I’m also continuing to produce African artists. There are a lot of problems in Cameroon, in particular. Ministers have been seizing artists’ money for nearly ten years and I’m fighting for national institutions (IMF, UN, etc.) to enforce the law. We had set up a new copyright society with Manu Dibango. The Minister of Culture sent an emissary. Manu didn’t fall for his schemes. After a year, they cut off the funds to this society, which included Ekambi Brillant that I produced, who was vice-president. The minister stirred things up to take the case away from Manu Dibango by making it seem like he was the one embezzling the money. It’s really the world upside down!

You are also the producer of your wife, Chantal Ayissi. Is it easier to work with family?
SLIM PEZIN: It’s better to work with others. It’s always more complicated with family!

Your last collaboration with Mylène dates back a few years, at the time of the release of the compilation ‘Les mots’…
SLIM PEZIN: Yes, we met again at Studio Guillaume Tell to record three new titles for the compilation, including ‘C’est une belle journée’ which quickly appeared to us as a hit.

And if aging were told to her, as she likes to say in ‘Innamoramento’…
SLIM PEZIN: The big difference today is Mylène’s excellent musical mastery. It’s normal. Her evolution has been in the right direction. For Alizée’s first album, for example, Mylène and Laurent directed together 50/50.

You were the guitarist on Alizée’s two albums. For a new project, they call on the core team! Do you consider this as a sign of loyalty from the Farmer / Boutonnat duo?
SLIM PEZIN: I don’t analyze it that way. There’s work to be done, it needed to be done well and quickly because the first single ‘Moi… Lolita’ had unexpected success. I don’t know if it’s a question of loyalty, you’d have to ask them! Your move (laughs)!

Source: Mylène Farmer and you – 2006, Annie & Bernard Réval for ‘De chair et de sang’ – 06/09/2004