DUNIA HÉDREVILLE

Born in Paris the 20th of February 1965, of a Spanish mother and a Guadeloupean father from the lesser Antilles, a saxophonist amateur of zouk and folklore music.

She spent her childhood between France, the Caribbean and Spain and finally settled in Mallorca where she perfected her vocal technique learning with the soprano Catalina Negre.

She trained her versatility with many projects in different groups and musical formations, singing jazz and swing.

Inspired by divas such as Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Carmen Mcrae, Dinah Washington, Anita O’day, Betty Carter, Diane Schuur, Bessie Smith; the Dunia Hedreville SWING QUINTET and Dunia’s JAZZ are born.

– Nova Cova from Jazz de Terrasa | Barcelona 1996

– Jamboree Club | Barcelona 1996

– Dunia Hédreville & Martin Ventura | Sant Cugat del Vallés 1996.

– Sa Ximboba Swing Quintet | Mallorca 1995-97.

-Dunia Hédreville Quartet | London Club Barcelona 1997-98

– Joan Soler Quintet | Valencia 1999.

– Dunia Hédreville & Jordi Torrents | Bagdad Café Mallorca 2000.

-Dunia Hédreville Quintet | Jazz Festival of Ciutat Vella Barcelona 2000

-Dunia Hédreville Quintet | Costa Nord Valledemossa Mallorca 2000

As a soloist she explores the religious and African singing, the improvisation fascinated by pure and abstract sounds, exploring the essence of emotion without the need to pronounce a word.

She embarks in “Cantos del Alma” as a soloist in 1998 accompanied by djembe and percussion, marking a first exploration of her spiritual dimension through gospel, stories and narrations in the African tradition, allowing the audience participate.

She also collaborates with theater and social and formative programs, she becomes involved in teaching until returning to her roots with afro jazz.

– Theatrical Performance “Via Crucis” | Stairways of the Cathedral of Palma. Mallorca 1998-2001.

– “D.I.U.” descenso interior urgente | Main Theater. Mallorca 1999.

– Concert per Elsa Grands Llacs Africans | Auditori del Conservatori. Mallorca 1999.

– Dunia Hédreville in “Cantos del Alma” | Teatre Municipal de Calviá. Mallorca 1998.

– Church Ca’s Concos | Mallorca 1998.

– S ‘horta in Cycle | Mallorca 1998.

– Quejío. Osotros por ti | Casal Balaguer. Mallorca 1998.

– Sa Nostra Foundation. “Music sense fronteres” | Mallorca 1996. Formentera 1998.

In 1999, the album “Makama Nye” is a first composition, an ambitious original record that grows into a stage play, in an audiovisual show “Makama Nye”.

– Teatro Principal | Mallorca 2000.

– Auditorium of Palma | Mallorca 2000.

– Palau Robert | Barcelona 2001

– FITEC 7 | Getafe Madrid 2010

Followed by the recording of “Tierra” | El planeta musical 2000.

A new formation comes to life in 2001 called Ñu Dayé its meaning in Wolof Senegalese is “The Encounter”. She participates in artistas in ruta in Madrid, Barcelona and Zaragoza in 2003-06.

It is a first incursion into afro jazz, a fusion, a musical crossover.

Zouk, reggae, jazz, Latin rhythms and the European conception of harmony are mixed together.

In 2005 initiating “AWA” as the continuity of “Makama Nye“. The stage show is developed for the purpose of capturing this live body of work in the recording studio one year later.

“AWA” Conservatory of Palma | Mallorca 2005.

“AWA” Festival Etnosur 2006.

EL IYÁ | Mallorca 2007-08

AWA PROJECT | Mallorca 2008-18

ONLY YOU | Mallorca 2014-18

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From 2008 to the present day, the duo El IYÁ, which she forms with Lazaro, has allowed Dunia to once again challenge herself with the Cuban key, with a more traditional and simple sound, imbuing herself with the Cuban rhythm that takes her back to her Caribbean roots.

The musical evolution of this artist is a particular didactic path that has led her to discover herself, in her corporality as a woman, composing hymns, singing homages to femininity as a sacred Deity.

This journey has been a self-affirmation of her identity as a mestizo girl from Africa, from the Caribbean, connecting with the universality of the human soul.

She has appropriated for herself in her beginnings the jazz, the African-American singing expression as a second skin, in search of her inner virtuosity.

With the gospel she found her spiritual dimension that has taken her back to her origins to communicate with the sacred and ancestral voices of her African ancestors.

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