" data-original-title="" title="">Immanuel Wilkins Quartet just four days before the release of its new album, Blues Blood, the excuse becomes a necessity.

That is why we landed in this attractive, lively city two days before the concert to soak up its dynamic atmosphere and its many charms. One of them was the setting for this event, the imposing Ch?teau Descas, whose spaces silently contain thousands of stories from its origin in the 16th century as a hospital to its subsequent incarnation as a huge complex of wine cellars, offices and homes erected in the 19th century by the wine merchant Jean Descas, to end in frenetic nights in the 21st century as host to a cabaret and then to two different discos, all now closed. This development culminated in 2006 in the closure of the ostentatious palace, which was a prelude to an abandonment that would last for 16 long years, until the beginning of 2024, when it was reborn as a multipurpose performance hall, eager to host cultural offerings focused mainly on dance, theater and music. But this neglect, happily overcome, still reigns over its location, a dilapidated Quai de Paludate that has undoubtedly seen much better times.

It is well known, although not sufficiently recognized, that behind any kind of intervention that facilitates live musical performance (whether it is the management of a stable space for performances or the organization of an entire festival) there always is an enthusiastic, courageous personality. In this case, the person responsible for such actions is Jean-Jacques Quesada, a musician who later became a driving force for Bordeaux City and its area of influence. Jay, as he likes to be called, is without a doubt a magnetic character, tremendously aware, and who generously shared with us a small part of his very numerous and diverse experiences from his years in New York City alongside monsters such as