Always in musical research, passionate concerning the evolution of jazz and improvised music, Pierre Lem is attentive to other cultures. Thus his references to the American Masters are enriched by his encounters with the music of Europe, Africa and Asia. Of this diversity of inspiration, there is a manifest originality.
Thus, Pierre Lem composes and improvises, with a constantly renewed inventiveness, appropriating themes of a wide variety of styles:
• the Bebop inspired by Charlie Parker and Dizzy Gillespie,
• the style of Thelonius Monk, made up of dissonances and staggered rhythm,
• Latin jazz Afro-Cuban, or Brazilian,
• Gospel and spirituals ... and their spiritualist connotations,
• Manouche Jazz, which developed after Django Reinhardt, modernized,
• A swinging third stream as illustrated by John Lewis' Modern Jazz Quartet,
• the revitalisation through convergences with Rythm and blues and Soul,
• the floating music of Miles Davis,
• the current created by John Coltrane's modal sounds.
Pierre Lem's music is characterized by:
• singing melodies, which easily fit into the memory,
• rhythms, often syncopated and always swinging, but also very diversified, ranging from the waltz to the rhythm and blues, passing by the Latin music,... enhancing the dynamics with an often very percussive playing,
• a large place given to the improvisations of spontaneous variations, which tell stories, sometimes surprising, based on the mutual listening and the interactions between the interpreters,
• a sharing of emotions, based on a great sensitivity, ranging from dark evocations, refined to revelation, fluent volubile phrases, expressions of joy, interspersed with moments of meditative relaxation, aired by silences, chained with moments Of intense tension, of a rare energy.