I have always seen Daniel Colin as a musical magician. Not only because his personality has an elfin side, funny, charming and often absent-minded. But above all because of his exceptional instinct as an artist who has learnt and assimilated everything: the virtuosity of young prodigies, the authentic musettestyle that was still alive when he was starting out in the Parisian ballrooms, the love of jazz, the taste for encounters and adventures (such as those of the Primitifs du Futur), and even the piano, which he plays so well (I can still hear Daniel playing a symphonic etude by Schumann during a concert of song). From these multiple sources he has created a personal style combining a flamboyant technique that amazed Jo Privat, a colourful artistry that gives his instrument so many faces, a deep poetic sense, sometimes poignant — after which the elf takes over and puts away his box of thrills under the attentive eyes of Jacqueline, his wife. Among the greatest masters of the accordion — many of whom were his friends, now deceased — Colin still occupies, to our delight, a unique place at the crossroads of the finest traditions and the new paths of the 21st century.
Benoît Duteurtre, écrivain, producteur radio à France Musique
