Many Twin Cities jazz fans will remember French cellist Didier Petit from the Minnesota Sur Seine music festival, which brought artists from around the world to the Twin Cities for cross-cultural musical exchanges. Now on tour in the States, Petit will spend two nights at the Black Dog Café in St. Paul playing, singing — and cooking.

Born into a musical family in Reims, Petit took up the cello at age 6 and attended the conservatory until 15. His classical career ended before it began when he discovered Sun Ra and His Arkestra and Alan Silva’s Celestrial Communications Orchestra. He enrolled in Silva’s unorthodox jazz school, IACP (Institut Art Culture Perception), taught there for a time, founded the French improvised music label In Situ, and formed his own quartet, NOHC (for Nitrogen, Oxygen, Hydrogen and Carbon).

Today Petit is considered one of Europe’s leading improvising musicians. On Tuesday, he will play three sets: solo, duo with saxophonist Nathan Hanson, and trio with multi-instrumentalist Milo Fine and vocalist Viv Corringham. On Wednesday, he’ll prepare a French dinner and play three more sets: duo with painter Lara Hanson, solo, and trio with JT Bates and Adam Linz.

I reached him by email in Chicago, where he was preparing for his Saturday appearance at the Velvet Lounge.

MinnPost: Tell us about your Minnesota connection.

Didier Petit: My first time in Minnesota was maybe seven years ago with the Denis Colin Trio (with Pablo Cueco) for recording the album “Something in Common,” produced by Jean Rochard for Universal music. At that time I met Gwen Matthews, the Steeles, Wain McFarlane, Dirty Bandits, and Mike Scott. Since then we have played a lot with Gwen Matthews in France and recorded another album with her, also produced by Jean Rochard.

I came here several times for the Sur Seine festival and met several musicians — George Cartwright and Adam Linz, Jacqueline Ultan and Michele Kinney (the fabulous cello duo), Milo Fine, Viv Corringham, Gary Schulte, Carnage, and of course Fantastic Merlins. For the past two years I have just decided to come by myself and continue to meet people, so I come to see my friends every year around this time.

[See a video here of the Denis Colin Trio with Gwen Matthews.]

MP: You studied classical music until age 15. What changed your mind and made you interested in jazz?

DP: I love classical music but I wanted to be in my time, not in the 17th or 18th or 19th century. So I went directly into free jazz music in Paris and started working with [Bermuda-born bassist] Alan Silva when I was 20. I worked with him for 10 years and met a lot of great American musicians with him.

MP: How would you describe the music you play?

DP: I cannot describe the music I play, I just play it. It’s coming from all my travel inside and outside and the influence of all the people I meet. It is a mix of what all the people have given to me.

MP: Avant-garde jazz (or free jazz, or improvisational music) is not very popular in the U.S. Is it more popular in France and Europe? If it is, what do you think the reasons are?

DP: I never believed in the idea of “avant-garde.” Let’s say that avant-garde was a specific period of the music. Also, we could say that different ways of making music, of feeling music, of listening to music, etc.. are not very popular anywhere on the planet. And it is not true that free jazz or improvisation is popular in Europe. Some countries in Europe, like France and Germany, have more interest in culture and more state money [to support culture], so there’s more of a scene for different music.

For me, one reason for the non-interest in this music is because it is too abstract. Ninety-four percent of the record sales in the world are songs [vocals], even in jazz. Instrumental music is 6 percent of the entire market, and [this includes] jazz, classical, contemporary, and traditional. That means when you listen to instrumental music, you have to build your own story, your own feeling, and your own thinking! There is no identity process.

MP: Do you know all of the musicians you’ll be playing with at the Black Dog? Do you have any specific plans for these performances?

DP: I have never played with JT Bates before. My plan is to pass a great moment with all of those great musicians and to communicate our pleasure at being together to the audience.

[View a clip of Petit, Hanson, and Brian Roessler performing at a friend’s home in France.]

MP: Someone named André Mionvielle has said that you “sing in Braille.” What does that mean?

DP: Mionvielle is a great scat singer in France. He means that my voice is connected to my cello and without it I cannot sing. I’m a kind of blind singer. My voice comes out from my fingers when I play the cello.

[Here’s a video of Petit in solo performance, playing and singing.]

MP: What will you cook for dinner on Wednesday? Have you decided on the menu?

DP: Yes. It will be Oeuf-Cocotte à la dijonnaise, then boeuf bourguignon, and then a specific cheese from Burgundy called Epoisse.

Didier Petit, Tuesday, March 2: Music starts at 7 p.m. ($7). Wednesday, March 3: Dinner at 6:30 p.m., music at 7:30. ($20 dinner and concert — seating limited, prepayment required; call 651-228-9274. $7 concert only.) Black Dog, corner of 4th and Broadway in St. Paul’s Lowertown.