Michel Meis 4Tet - Kaboom (2021 Challenge Records)

“Kaboom” Behind this picturesque title lies the explosive mixture created by the 4tet of the Luxembourg drummer Michel Meis on his second album. This time the band has a guest on some of the songs: the French violinist Théo Ceccaldi. “Théo Ceccaldi was brought to my attention by our pianist Cédric Hanriot,” Meis said. “His music and attitude really appealed to me. There is a lot of space between the violin and the trombone in terms of sound, which was a very experimental approach. Musically, it fit very well, because both are very flexible.”

Alisa Klein on the trombone merges as casually as unpredictably with the violin tone of Ceccaldi, and band leader Meis knows very well how much she is worth for the band. “Alisa Klein is the soul of the band,” a fact of which he is very aware. “Her sound is very warm and emotional and has a lot of space, but it still sounds very intimate. Such a deep-sounding wind instrument sound totally appeals to me.”

The well-structured pieces of the band leader have exactly the right mix of eclectic modern jazz and improvisational desire for experimenting. Meis can rely on his 4tet, which has grown into an unbeatable unity since the debut album “Lost in Translation”, which received excellent reviews. “No member of the band can be replaced and it would significantly affect the sound if one were missing,” Michel Meis stated. Stephan Goldbach is on the bass, and he also plays in the Trio Village Zone of pianist Georg Ruby, for example. “Stephan also plays a lot of experimental music,” Meis knows. “For me, he's the punk attitude in the band. He is the base of the band. But he brings a lot of physical strength to the band and plays in a very solo-like manner.”

The 4tet is held together by the French pianist Cédric Hanriot. “Cédric Hanriot is a pianist the kind of which I haven’t heard many times in my life,” Meis said. “He has his Cédric moments, during which I recognize him immediately, but his solos are always surprising because he doesn't hesitate to leave his comfort zone. He always takes substantial risks, and we adapt to them.” Between the longer pieces, Meis has included small miniatures on “Kaboom” where two musicians usually ester into conversation. However, the album is opened by the impetuous “Full Pedal Jacket”, which explores the abundance of possibilities in just under nine minutes that the 4tet and its guest have at their disposal. “’Full Pedal Jacket’ tends to go in the pop direction,” Meis believes. “It’s based on a riff that I experimented with.”

The whole band joined together to play “State of Uncertainty” which shifts between edgy rhythms and small melodic treats. “I wrote the piece during the first lockdown,” Meis recounted. “The beat is repeatedly broken up, whereby the piece is intended to describe the prevailing uncertainty.”

The white cat on the cover also has some significance, because it illustrates what is also the hallmark of the Michel Meis 4tet: “Cats do what they want and have a mind of their own,” Meis knows.

1. Full Pedal Jacket 08:44

2. [hanriot] 01:15

3. State of Uncertainty 08:20

4. [ceccaldi / goldbach] 01:01

5. Kaboom 06:53

6. Coming Together 02:00

7. She 07:09

8. [goldbach / hanriot] 01:04

9. Red Desert Air 04:34

10. [klein / meis] 00:56

11. Re:Build 08:25

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Michel Meis 4tet - Lost in Translation (DOUBLE MOON RECORDS January 11, 2019)

Born in 1989, Michel Meis belongs to the new generation of Luxembourgish jazz musicians and regularly proves his versatility and openness through numerous projects.

After years of style shaping and sound experiments, his 4tet is about to make its mark on the European jazz scene with a sonic vocabulary that skillfully blends the traditional palette of drums, trombone, piano and double bass with the fresh approach and the broad musical background of open-minded and fearless musicians. The result is an exciting modern jazz where free and experimental improvisations meet well-crafted compositions. Where a rhythm, bursting with energy and vivacity, meets introverted and lyrical melodies. Where conventional jazz elements meet a clever and subtle use of jungle beats and electronic sound effects. Although a true powerhouse drummer, Michel Meis gives enough room for the other instruments to unfold, thus emphasizing the cohesiveness and harmony of the project.

Michel Meis, drums

Alisa Klein, trombone

Cédric Hanriot, piano

Stephan Goldbach, double bass

1 King Kong  05:32

2 Desire  07:38

3 Lost In Translation  03:51

4 Reflection  07:17

5 Hope  03:57

6 In A Dream  04:52

7 Heaven  05:22

8 Morena  05:45

Jason Palmer & Cédric Hanriot - City of Poets (2016)

Label:

Source: Allaboutjazz

Genre: Modern Jazz

GAB's Rating: ★★★★★

The formal structure of this album recorded live at London's Pizza Express Jazz Club on September 23, 2014, centres around Olivier Messiaen's Seven modes of limited transposition, musical modes or scales that fulfil specific criteria relating to their symmetry and the repetition of their interval groups. As with George Russell's Lydian chromatic concept of tonal organization much has been written about this, so this review will confine itself exclusively to the music.

The titles of the nine pieces take their origins from US author Dan Simmons' four-novel science fiction series Hyperion Cantos, reflecting Simmons' literary themes of pilgrimage, not unlike a modern day or futuristic Canterbury Tales.

Co-leader Jason Palmer has been a ubiquitous name on the jazz scene for 15 years, working with names such as Herbie Hancock and Jack DeJohnette. He also played on virtuoso bassist and producer Michael Janisch's highly acclaimed CD Paradigm Shift (2015) and Janisch's 2009 debut album Purpose Built both released on Whirlwind Recordings. City Of Poets also acts as a follow-up to French pianist and co-leader Cédric Hanriot's 2011 album French Stories which featured Terri Lyne Carrington and John Patitucci.

The opener, "The Priest's Tale (Mode II)" with a backdrop of pulsating rhythm including Michael Janisch on bass guitar, Donny McCaslin's fiery tenor saxophone solo borders on late-period John Coltrane such is its ferocity. The mood calms down for "The Soldier's Tale (Mode IV)" with Janisch reverting to double bass and Cédric Hanriot producing a keenly absorbing piano solo, his stylistic influences seemingly ranging from (but not limited to) Bill Evans to Ahmad Jamal. A Palmer trumpet solo follows and he is heard again, soloing alone on the brief "The Poet's Tale (Intro)" which naturally segues into "The Poet's Tale" and here Donny McCaslin gives another serpentine tenor solo. It's also here that in-demand percussionist Clarence Penn is heard employing fractured call and response bursts of dramatic drumming.

The languid "The Scholar's Tale (Mode III)" sees Janisch back on bass guitar and Palmer evincing a mellifluous solo. On the short "The Detective's Tale (Intro)" it's Janisch's turn to solo, here on pizzicato double bass, which serves as an introduction to "The Detective's Tale" in which its elegant ensemble opening is pursued by another strident Hanriot solo (and given due appreciation by the audience). "The Consul's Tale (Mode VI)" opens with wistful piano and trumpet and continues in that ruminative vein via solos from McCaslin and Palmer. The set concludes with a robust "The Shrike" again with Penn producing some more melodramatically staccato-like drumming and Palmer leading the solos with forcefully vibrant trumpet, followed by rapidly alternating McCaslin and Hanriot solos.

It surely must have been a great gig to witness, because with the combination of excellent compositions, outstanding solos and a band of internationally renowned musicians performing on absolutely top form, the enthusiastic audience response heard occasionally between tracks was clear confirmation of the unequivocal success of the performance.  Roger Farbey

1. The Priest’s Tale (Mode II)
2. The Soldier’s Tale (Mode IV)
3. The Poet’s Tale (Intro)
4. The Poet’s Tale (Mode V)
5. The Scholar’s Tale (Mode III)
6. The Detective’s Tale (Intro)
7. The Detective’s Tale (Mode VII)
8. The Consul’s Tale (Mode VI)
9. The Shrike (Mode I)

Cédric Hanriot - piano
Jason Palmer - trumpet
Donny McCaslin - tenor saxophone
Michael Janisch - double & electric bass
Clarence Penn - drums

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