Born in Paris, France in 1960, Pelletier grew up in a musical familyÂ and was encouraged to be a musician at a young age. Bruno notes that it’s been said that his father had played with gypsy guitarist Django Reinhardt. “That is true,” he says. “However, it should be mentioned that they only played pool together…”
After studying guitar and Jazz Composition at the University of Miami, Florida, Bruno moved to San Francisco in 1987 where he now works as a free-lance guitarist, bandleader and educator. He has performed Yoshi’s with his own quartet, at the SF Museum of Modern Art, at local jazz festivals and at the Mill Valley International Film Festival, and has played withÂ Buddy Collette, Sonny Simmons, Norah Jones, Bruce Dunlap, Trevor Dunn (“Mr. Bungle”, “Fantomas”, John Zorn), Reid Anderson (“The Bad Plus”), Jenny Scheinman, Ben Monder, Steve Cardenas, Kenny Wollesen (Bill Frisell), Phillip Greenlief, Flip NuÃ±ez, J. Granelli, Adam Levy (Tracy Chapman, Joey Baron, Norah Jones), percussionist Mingo Lewis (from “Santana”), African World Beat group “Zekele Sounds”, and the”Broun Fellinis.” He performed as a special guest with the Iranian band KIOSK and was featured on their 2010 album “Triple Distilled: Live at Yoshi’s San Francisco.” He travelsÂ regularly to New York City (where he lived in 1999-2000) and to Europe where he performs and presents workshops.
Learn more at http://brunojazz.com/
The video below features Bruno, Ken and Tom with reed player Matt Renzi playing an original composition of Bruno’s, “Keeping a Low Shade.”
Our events are put on under the umbrella of the nonprofit Bird & Beckett Cultural Legacy Project (the "BBCLP"). That's how we fund our ambitious schedule of 300 or so concerts and literary events every year.
The BBCLP is a 501(c)(3) non-profit...
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Gigging musicians! You have nothing to lose but your lack of a collective voice to achieve fair wages for your work!
The IMA can be a conduit for you, if you join in to make it work.
Read more here - Andy Gilbert's Feb 25 article about the IMA from KQED's site