http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.
Wednesday, March 21, 2018
Kicks'n Sticks - Das Was Bleibt (BAUER STUDIOS 2018)
Kicks'n Sticks, conductors: Jochen Welsch, Frank Runhof, Martin Sebastian Schmitt
feat. Ingolf Burkhardt - trumpet, Stephanie Neigel - vocals, Juliette Brouset - vocals, Thomas Stabenow - double bass
Kicks'n Sticks has u.a. played with Bill Ramsey, Janice Dixon, Xavier Naidoo and Marc Marschall. From these varied concert experiences, Kicks'n Sticks has developed over the years an extremely extensive repertoire ranging from the swing of the 1930s to contemporary world premieres.
Today, the musical direction of the band is distributed equally on Frank Runhof, as well as Martin S. Schmitt and Jochen Welsch, all of whom contribute as well-versed composers and arrangers to the independent sound of Kicks'n Sticks.
1. Hi-Heel Sneakers
2. Spring
3. Non Ti Scudari Mai
4. Here's That Rainy Day
5. What...?
6. I've Never Been in Love Before
7. It's All Right With Me
8. You Are Here
9. Das was bleibt - Prelude
10. Das was bleibt
11. Liebeslied
12. Zeralda's World - Prelude
13. Zeralda's World
14. Cloak and Dagger
Woodwinds: Tim Hurley (lead), Olaf Schönborn (lead), Fabian Schöne (lead), Gary Fuhrmann, Cordula Hamacher, Nicolai Pfisterer, Sebastian Nagler
Trombones: Marcus Franzke (lead), Garrelt Sieben (lead), Thomas Weiland, Peter Hedrich, Frederic Andrej (b-tb)
Trumpets & Flugelhorns: Jens Müller (lead), Claus Löhr (lead), Alexander Hartmann, Stephan Udri, Janis Hug, Heiko Hubmann
Rhythm Section: Rocco Dürlich - Guitar; Volker Engelberth - Grand Piano, Electric Piano; Friedrich Betz - Double Bass, Electric Bass; Dominik Raab - Drums
Conductors: Frank Runhof, Martin Sebastian Schmitt, Jochen Welsch
Portico Quartet - Untitled (AITAOA #2) GONDWANA RECORDS April 27, 2018
1. Double Space
2. Index
3. Unrest
4. In Where We Meet
5. View from a Satellite
6. Celestial Wife
7. Reflected in Neon
8. Dust
9. Berlin
In 2017 they released their fourth studio album in a decade, Art in the Age of Automation, on Gondwana Records. Released to a chorus of acclaim, the album marked a triumphant return for the Quartet after a brief hiatus as the three-piece, Portico, and marked a welcome return to the stage for the foursome with sold-out shows across Europe including the Roundhouse, London earlier this year.
Untitled (AITAOA #2) was largely recorded at the same sessions as Art in the Age of Automation at Fish Factory Studios in London and Portico Quartet's own studio in East London. Like it's predecessor, the album was mixed at Voxton in Berlin. It is intended as a companion piece to last year's AITAOA. But works equally as well as a stand-alone album and explores similar areas of enigmatic, widescreen minimalism alongside the more hard-hitting sounds that have become a notable part of their live shows. There is no lessening of quality here, album opener, Double Space, Index, View From A Satellite and Berlin were all originally slated for AITAOA, before being held back as the band's vision of that album came into sharper focus. The insistent groove of Unrest and cinematic beauty of Celestial Wife were enhanced with further recording sessions till the band felt they were complete. The artwork is by Duncan Bellamy for Veil Projects.
"During 2016 we embarked on writing Art in the Age of Automation, and it ended up being an incredibly fertile period for us. We wrote a lot of music - too much - but ultimately decided to record it all during recording sessions in December 2016/January 2017. After releasing AITAOA we still had a lot of music leftover… music that could easily have made it onto the album. The more we listened to these tracks the more we wanted to share it, so we set about crafting it into something worthy of release. We're really excited to share the results!." Duncan Bellamy
This then is, Untitled, Art in the Age of Automation #2. Enjoy!
SHOWS
Apr 05
Norwich, UK
May 05
Cheltenham, UK
May 10
Munich, Germany
May 15
London, UK
Jun 15
Manchester, UK
Jun 20
Edinburgh, UK
Jun 28
Rothbury, MI
Jun 29
Exeter, UK
Jul 21
Sheffield, UK
Nathalie Darche & Carine Llobet - Pétrole (2018)
In the Darche family, after Mr. Alban the saxophonist composer (featured February in the "Tomb of Poulenc"), here is Madame Nathalie, the pianist who is actively involved in Alban's projects. "Because two pianos is already an orchestra," she says, she joins Carine Llobet for a 176-key dialogue in "Oil" subtitled Refined Creations for Two Pianos. Starting from the idea that "oil is as much what has advanced the man as what can lead to its loss", they have asked seven composers of their friends to end up with the dozen pieces that make up this album. Thus, under their fingers, they will listen to the works of Baptiste Trotignon, Mathias Rüegg, John Hollenbeck, Alban Darche, Geoffroy Tamisier, Victor Michaud and David Chevallier. Different personalities but a very coherent set thanks to the virtuoso and enthusiastic playing of the two pianists. A beautiful record that can take another dimension scenic in a concert-narrative with the contribution of Matthieu Auzanneau, journalist author, among others Black Gold, the great story of oil that will offer seven stories on the black gold, his birth to his disappearance.
01. Les pensées offshore d’Arthur - Geoffroy Tamisier
02. Speed - David Chevallier
03. In petroleum veritas - Baptiste Trotignon
04. Pétrole interlude - John Hollenbek
05. A little story in blue - Mathias Rüegg
06. Pétrole Frénésie - Alban Darche
07. Pétrole Spleen - Alban Darche
08. Pétrole Vers un autre monde - Alban Darche
09. Derrick Hellfighter - Victor Michaud
10. Derrick Uncle Billy - Victor Michaud
Maria Grand - Magdalena (BIOPHILIA RECORDS May 1, 2018)
Following up her 2017 debut EP Tetrawind (“kinetic and abstract … intuitive and confident,” jazzweekly.com), tenor saxophonist, composer and vocalistMaría Grand returns with her full-length debut Magdalena from the innovative Biophilia Records. Her guiding intent is to explore modern family relationships through the lens of Egyptian and early Christian myths, connecting them to the pioneering work of family therapist Virginia Satir. Proceeding from the conviction that “healing families heals humanity,” Grand conceives a set of music within “a feminine non-hierarchical power structure,” she explains. “This means that the traditional form of solos is exploded into a more collective conversation.”
In the mercurial, asymmetric rhythms and flowing dialogue of Grand and her core trio with bassist Rashaan Carter and drummer Jeremy Dutton, we hear the musical analogue of two parents and a child. This trio dynamic is manifest most clearly on “TI. Isis,” “TII. María” and “TIII. Magdalena,” each constructed around a particular triad and inspired by three mythical women who serve “as examples of a woman’s power,” Grand says. These pieces also contain layers of symbolism: on “TI. Isis,” as Grand states in the liner notes, “The melody has every note that exists in a chromatic scale except for one, the piece that Isis didn’t find after Osiris died.”
The guests appearing on Magdalena serve to vary the sound and the relational dynamic, “providing more complex domestic structures to the music,” Grand offers. Pianist David Bryant, who played a brilliant role on Tetrawind, lends bracing and mysterious harmonic aspects to five tracks. On the duet piece “Imani/Walk by,” inspired by vocalist and composer Imani Uzuri, we hear from pianist and Biophilia founder/director Fabian Almazan, who interprets the song with gradually increasing adventurism. We also hear Grand stepping away from the saxophone to sing. “I’ve always written songs with lyrics,” she says, “and I don’t see that as fundamentally different from the instrumental music. For me it’s about balance: it’s a more vulnerable and fragile part of my expression.”
Grand’s compositional methods tend to mirror the often very personal meanings of the songs themselves. “Workshop,” with its heightened tension and release, is the most directly inspired by Virginia Satir’s model of the family therapy workshop or “family constellation.” In this experience, Grand explains in the notes, “tension builds when people release deep trauma into the world. The pain that was hidden makes its way to the surface and is finally recognized.”
“Where Is E,” a reflection on Grand’s estranged sister Eleanora, is more personal still: “In the intro the piano and saxophone are together, and then eventually they separate. The whole thing is about looking for her, so we go through every triad and see if we can find her. It’s kind of like going through the whole phone book. I wrote the song hoping it would move the energy so that then I would actually meet her.”
“La Inmortal” and “Ejes y deseos” serve as a narrated opening and closing statements, the former with the poetic recitation of vocalist Jasmine Wilson, the latter with the rap vocal of Amani Fela. Grand wrote the words herself but wanted to incorporate other voices to bring them to life. “I recited a poem on Tetrawind,” Grand recalls, “but on ‘La Inmortal’ I wanted someone with unaccented English, and it was important to me to have another woman on the album. On the closing track, which is in 11, Amani got it right away. If he hears a rhythm he understands what it is. He sang on my 2017 Jazz Gallery commission ‘Embracements’ and was just incredible.”
Magdalena will be released by Biophilia Records as a Biopholio™, a double-sided, 20-panel origami-inspired medium bursting with vibrant artwork and liner notes; each one made entirely out of FSC-certified, robust paper, hand-folded and printed using plant-based inks. In each Biopholio™ is a unique code to digitally download the music in the preferred format. This innovative design caters to the environmentally conscious listener, who is aware of the harmful effects of plastic in the environment, yet feels that a digital download is just not enough. Biophilia’s artists are united by a common interest in having a positive impact on the environment and our communities. To that end, they collaborate with organizations that specialize in conservation, sustainability and outreach initiatives.
"On “TetraWind,” an EP released this year, Ms. Grand, 25, unfurls a teetering logic. She conjoins the spiky rhythms of Rashaan Carter’s bass with tilting sheets of harmony, built by her tenor saxophone, David Bryant’s keyboard and Roman Filiu’s alto saxophone. As an improviser, the Swiss-Argentine Ms. Grand is both measured and frank, often venturing into gentle provocation."
-The New York Times, Giovanni Russonello
"..a dynamic, Colemanesque solo from saxophonist María Grand.."
-the Chicago Tribune, Howard Reich
"[María Grand] is an excellent, exploratory saxophonist you should all know. I first encountered her at a Steve Coleman and the Five Elements show in NYC last year. As you're aware, that is not exactly an easy gig to get. She contributes to Steve's 'Synovial Joints' album, if you want to hear her in that context. [...] Grand's pieces are full of wild twists, turns and time signatures, yet hang together in a compelling way. This is stuff for adventurous listeners. There's excellent interplay between Grand and alto saxophonist Román Filiú.
-Anil Prasad, found of innerviews.org
Tom Bourgeois - Murmures (BAUER STUDIOS 2018)
MURMURES, like the warm breath of someone familiar, whispering softly, gently in your ears. MURMURES, like the sound of an intimate word, like timidly sharing a secret. The saxophone, the guitar, the accordion and the singing design a poetic, idyllic atmosphere. In alliance or alone, they oat smoothly, resembling the movement of the human soul. On the way for looking themselves, they improvise, and finally they encounter utterly during the moments of sharing.
Melancholic and warm at the same time; the music - composed by Tom Bourgeois - passes through several states, in the same manner as humans pass through the stages of life.
In 2016 he teamed up with the singer Lois Le Van, the accordion player Thibault Dille and the guitarist Florent Jeunieaux, as their strongly defined musical style highlights his compositions. The sounds that emerge from this unusual acoustic instrumental formation translate into a true simplicity. The listening, almost naturally, guides us along the story that is already familiar to our ears. Tender, but powerful.
MURMURES is a genuine work of composition and arrangement. Each title highlights the formation, in the form of duo, trio or quartet, to explore the highest possible richness of the sounds.
The second part is an arrangement of Maurice Ravel’s quartet for strings in F Major. Completely transformed, the piece was re-written by Tom Bourgeois for his group, giving it a completely new life. The first movement leaves some place for the accordion, the second one for the soprano saxophone. The third movement had been enriched with a text in French, written by François Vaiana and sung by Lois Le Van.
At last, the fourth movement underlines the place of the guitar. The four strings of the quartet by Maurice Ravel becomes a collection of the voices by four different instruments.
With his program, Tom Bourgeois had re-discovered - in his own way - a piece written some hundred years ago, taking into account the modernity of our time. This development is guided by a clear and precise thread: to create something new by transforming something from the past.
Very active on the jazz scene in Belgium and abroad, Tom Bourgeois embarks for the first time his album as leader and as composer. MURMURES is the result of a long work of writing for the acoustic quartet that he had formed in 2016.
CD 1
1 Melancholia 5:36
2 Charlie 7:12
3 Créatures (Suite) 9:00
4 Duke Ellington's Sound of Love 4:10
5 Mechanical Boy 5:28
6 The Old Father and the Polaroid 5:50
7 Jeff (3) 4:44
8 Les Petits Cailloux 3:09
9 Transience 4:32
10 Winter 5:38
CD 2
1 String Quartet M.35: 1. Allegro Moderato 6:49
2 String Quartet M.35: 2. Assez Vif, Très Rythmé 8:01
3 String Quartet M.35: 3. Très Lent 9:15
4 String Quartet M.35: 4. Vif Et Agité 7:46
5 Sonatine M.40: 1. Modéré 2:31
Loïs Le Van : Voix
Thibault Dille : Accordéon
Florent Jeunieaux : Guitare
℗ 2018 Bauer Studios GmbH
George Kahn, Alex Acuña & Lyman Medeiros - Straight Ahead (2018)
West Coast Jazz pianist George Kahn’s ninth album is a “groove party” from start to finish. The twelve tracks (all featuring George on piano, Alex Acuña on drums, and Lyman Medeiros on bass) were recorded live in studio over three days. The songs build on Kahn’s love affair with West Coast Jazz, presenting seven new originals dedicated to jazz greats like Dave Brubeck, Wynton Kelly and Joe Sample. Five cover tunes round out the set bringing contemporary pop tunes into the jazz lexicon, turning songs by Adele, Prince, Ed Sheeran and The Weeknd into new jazz standards.
STRAIGHT AHEAD is just what it sounds like: The songs are melodic and catchy, the feel is contemporary yet classic. Building on Kahn’s strong catalog of jazz releases, this set of twelve instrumentals will always be a good companion, wherever you are and whatever you do. Alex Acuña (a top Latin percussionist and studio musician, possibly best known for his albums with Weather Report) brings nuance and color to all the songs, especially his solo in “Wynton Kelly”. Lyman Medeiros, a young gun on the Los Angeles jazz scene, holds the groove together with his “big funky” sound.
Notes From George:
I have always wanted to record a piano trio album, and in Alex Acuña and Lyman Medeiros I finally found my perfect partners. Like on my Cover Up! CD, I have chosen to mix the old (Work Song) with the new (Can’t Feel My Face).
The seven original compositions all borrow from and are inspired by the Jazz Piano Giants upon whose shoulders I stand:
• Wonton Kelly (tribute to Wynton Kelly)
• Roger Killowatt (tribute to Roger Kellaway)
• Get Naked (tribute to Joe Sample)
• Secrets (tribute to Dave Brubeck)
• Red’s Riff (tribute to Red Garland and Count Basie)
• Follow Your Heart (tribute to Bill Evans)
• Dreamin’ (dedicated to my wife Diana, for her unflagging support and love)
1. Rumour Has It 4:44
2. Work Song 5:40
3. Thieves in the Temple 5:55
4. Wonton Kelly 5:40
5. Can't Feel My Face 5:30
6. Roger Killowatt 4:09
7. Get Naked 4:55
8. Secrets 5:49
9. Thinking out Loud 4:21
10. Dreamin' 6:10
11. Red's Riff 4:11
12. Follow Your Heart 6:41
Lyman Medeiros bass
Alex Acuña drums
Apr. 7 & 8 Wadada Leo Smith presents the 2nd Annual CREATE Festival at Firehouse 12 in New Haven, CT
© Michael Jackson
Iconic composer and trumpeter Wadada Leo Smith
presents the Second Annual CREATE Festival in New Haven, CT
Saturday, April 7 & Sunday, April 8, 2018 at Firehouse 12
Two-day celebration of Wadada’s inventive spirit will feature world or U.S. premieres of four new suites along with an exhibition of Smith’s Ankhrasmation scores and a performance by his grandson Lamar Smith
“…one of the most innovative bodies of work in American music since the 1960s.”
– Adam Schatz, The New York Review of Books
“A trumpeter and composer of penetrating insight.”
– Nate Chinen, The New York Times
Legendary composer and trumpeter Wadada Leo Smith presents the Second Annual CREATE Festival in New Haven, CT, a two-day celebration and exploration of his inventive and unclassifiable music that will feature world or US premiere performances of four new suites. Taking place Saturday, April 7 and Sunday, April 8, 2018 at Firehouse 12, 45 Crown Street, New Haven, CT, the festival will include performances by five separate ensembles over two evenings and include an exhibit of Smith’s Ankhrasmation Symbolic Language Scores. Performances take place at 7 p.m. each evening; exhibition walk-through on Sunday at 3 p.m. A full schedule of events is below. Tickets are $30 for each of the concerts; $55 for both. There is no charge for the exhibit. For information, please call 203-785-0468 or go to Firehouse 12.
The festival debuted in April 2017 with a weekend of performances and discussions in New Haven, CT, where it will continue each year. Create West followed at the Lab in San Francisco in December 2017. This year’s edition will include two World and two U.S. premieres of suites penned by Smith, with inspiration culled from the natural world, the cosmos, politics and a much-needed plea for tolerance. These pieces add significantly to what Adam Schatz of the New York Review of Books calls, “one of the most innovative bodies of work in American music since the 1960s.”
The weekend opens with an ensemble led by guitarist Lamar Smith (Wadada’s grandson), featuring electronic artist Hardedge and drummer Thurman Barker. Saturday’s program continues with the world premiere of Dark Matter, Dark Energy: The Unseen Suite, a piece inspired by the great mysteries of the universe. The suite features Smith’s Kosmic Music Ensemble, in which Wadada’s trumpet is joined by vibraphonist Bobby Naughton, pianist Sylvie Courvoisier, guitarist Lamar Smith, drummer Thurman Barker, and Jawara on jimbe and percussion.
© Michael Jackson
Sunday’s line-up begins with the U.S. premiere of President Obama's Speech At The Selma Bridge, a suite written for the renowned power-jazz trio Harriet Tubman. Wadada will join the band, which includes bassist Melvin Gibbs (Rollins Band, Sonny Sharrock), guitarist Brandon Ross (Henry Threadgill, Cassandra Wilson), and drummer J.T. Lewis (Whitney Houston, Bill Laswell). The piece recalls Barack Obama’s historic speech commemorating the 50th anniversary of “Bloody Sunday” on the historic Edmund Pettus Bridge in Selma, Alabama in front of a crowd of 40,000.
The ideals represented by that speech are also beautifully represented in the festival’s final piece, the world premiere of Peace, Love and Liberty: Compassion and Respect For a Tolerant World: A Suite. Performed by Smith’s longstanding Golden Quintet – Wadada, pianist Anthony Davis, cellist Ashley Walters, drummer Pheeroan akLaff, and video artist Jesse Gilbert – the new suite is the composer’s plea for understanding, compassion and tolerance at an incredibly divisive time. As President Obama’s Speech provides a poignant look back at another fraught chapter in our history, Peace, Love and Liberty offers an optimistic and embracing look forward.
Both of Saturday’s premieres as well as the Golden Quintet performance will be supplemented by images provided by video artist Gilbert, who Smith says adds integral visual context to the aural elements. “The music and imagery don’t move in separate streams,” he says. “They’re actually intimately connected and responsible for each other, allowing us to create a narrative that transcends space and time. It’s twofold: there’s a technical and musical connection, and then there’s a psychological and historical connection that helps to provide for comprehension of the work.”
In order to further that comprehension, the Festival will include an exhibition of 20 of Smith’s Ankhrasmation Symbolic Language Scores in a special gallery at Firehouse 12. On Sunday, April 8, Smith will lead a walk-through of the exhibition along with curator Lyn Horton. He will also lead a discussion of his unique compositional approach. Curators and the general public are invited to join.
“For all the minimalism of his sound,” writes Adam Schatz, “Smith has turned out to be a maximalist in his ambitions, evolving into one of our most powerful storytellers, an heir to American chroniclers like Charles Ives and Ornette Coleman.” That ambition will be on prismatic display throughout the CREATE Festival, allowing Smith to weave multiple tales across the sweeping breadth of his formidable imagination.
© Jimmy Katz
CREATE Festival
Saturday, April 7, 2018
7 p.m. Concert
1. Lamar Smith Ensemble
Lamar Smith, Guitar
Hardedge, Electronics
Thurman Barker, Drums
2. Dark Matter, Dark Energy: The Unseen Suite – World Premiere
Kosmic Music Ensemble
Wadada Leo Smith, Trumpet and Composer
Bobby Naughton, Vibraphone
Sylvie Courvoisier, Piano
Lamar Smith, Guitar
Thurman Barker, Drums
Jawara, Jimbe and Percussion
3. The Great Lakes – USA Premiere
Wadada Leo Smith Great Lakes Quartet
Wadada Leo Smith, Trumpet and Composer
Jonathan Haffner, Alto and Soprano Saxophone
John Lindberg, Bass
Thurman Barker, Drums
Jesse Gilbert, Video Artist for all performances on April 7
Sunday, April 8, 2018
3 p.m. Exhibition
Walk-through and discussion for exhibit of 20 new art-scores in Smith’s Ankhrasmation Gallery.
7 p.m. Concert
1. President Obama's Speech At The Selma Bridge – USA Premiere
Harriet Tubman performing with special guest Wadada Leo Smith
Brandon Ross, Guitar
Melvin Gibbs, Bass
J.T. Lewis, Drums
Wadada Leo Smith, Trumpet
2. Peace, Love and Liberty: Compassion and Respect For a Tolerant World: A Suite – World Premiere
Wadada Leo Smith’s Golden Quintet
Wadada Leo Smith, Trumpet and Composer
Anthony Davis, Piano
Ashley Walters, Cello
Pheeroan akLaff, Drums
Jesse Gilbert, Video Artist
CREATE Festival is made possible with generous support from the Doris Duke Foundation in partnership with Creative Capital. Smith received a Doris Duke Artist Award in 2016.
© Jimmy Katz
About Wadada Leo Smith
Trumpeter, multi-instrumentalist, composer, and improviser Wadada Leo Smith is one of the most boldly original and influential artists of his time. Transcending the bounds of genre or idiom, he distinctly defines his music, tirelessly inventive in both sound and approach, as "Creative Music."
For the last five decades, Smith has been a member of the legendary AACM collective, pivotal in its wide-open perspectives on music and art in general. He has carried those all-embracing concepts into his own work, expanding upon them in myriad ways.
Throughout his career, Smith has been recognized for his groundbreaking work. A finalist for the 2013 Pulitzer Prize in Music, he received the 2016 Doris Duke Artist Award and earned an honorary doctorate from CalArts, where he was also celebrated as Faculty Emeritus. In addition, he received the Hammer Museum's 2016 Mohn Award for Career Achievement "honoring brilliance and resilience."
In 2017 Smith topped three categories in DownBeat Magazine’s 65th Annual Critics Poll: Best Jazz Artist, Trumpeter of the Year and Jazz Album of the Year, and was featured as the subject of a cover story in August 2017. The Jazz Journalists Association also honored Smith as their 2017 Musician of the Year as well as 2017 Duo of the Year for his work with Vijay Iyer. The JJA named him their 2016 Trumpeter of the Year, 2015 Composer of the Year, and 2013 Musician of the Year, and he earned top billing in two categories in the JazzTimes 2016 Critics Poll: Artist of the Year and Composer of the Year.
In October 2015 The Renaissance Society at the University of Chicago presented the first comprehensive exhibition of Smith's Ankhrasmation scores, which use non-standard visual directions, making them works of art in themselves as well as igniting creative sparks in the musicians who perform them. In 2016, these scores were also featured in exhibitions at the Hammer Museum, and the Kalamazoo Institute of Arts and Kadist in San Francisco.
Smith has released more than 50 albums as a leader on labels including ECM, Moers, Black Saint, Tzadik, Pi Recordings, TUM, Leo and Cuneiform. His diverse discography reveals a recorded history centered around important issues that have impacted his world, exploring the social, natural and political environment of his times with passion and fierce intelligence. His 2016 recording, America’s National Parks earned a place on numerous best of the year lists including the New York Times, NPR Music and many others. Smith’s landmark 2012 civil rights opus Ten Freedom Summers was called “A staggering achievement [that] merits comparison to Coltrane’s A Love Supreme in sobriety and reach.”
Tuesday, March 20, 2018
Daniel Erdmann / Christophe Marguet - Three Roads Home (DAS KAPITAL RECORDS March 30, 2018)
Free and open minds and quiet temperament, Daniel Erdmann (tenor saxophone) and Christophe Marguet (drums) have naturally found themselves in a face-to-face formula, in 2010 for fun and very seriously in 2012 to record the album "Together Together" published in 2014 (Abalone), one of our favorites that year. So we find them together, surrounded by two of their most faithful contrabassist friends: Henri Texier and Claude Tchamitchian. One or the other (in trio of this fact) or the two gathered in an unusual quartet with two double bass on three beaches while playing contrasts bow (Tchamitchian) vs pizzicato (Texier). The stunning compositions are signed Erdmann and Marguet but also Tchamitchian (The Shadow of Water) and Texier with one of his "tubes" in the form of a slogan (Do not buy Ivory, anymore). Its full and suave tenor saxophone by Daniel Erdmann on a very natural phrasing, finesse and subtlety of Christophe Marguet's colorful drum playing, limpid beat of Henri Texier's double bass, Claude Tchamitchian's rich sound palette ... A combination of qualities that make this record a cheering success.
01. A n’importe quel prix (Marguet)
02. Ornette (Erdmann)
03. Les Agnettes (Erdmann)
04. L’ombre de l’eau (Tchamitchian)
05. Manif contre personne (Erdmann)
06. Valse pour eux (Marguet)
07. Middle Life (Marguet)
08. Forever éphémère (Erdmann)
09. One back, two forward (Erdmann)
10. Don’t buy Ivory, anymore (Texier)
11. Summer Colour (Marguet)
12. A pleasant serenity (Marguet)
Daniel Erdmann : saxophone ténor
Christophe Marguet : batterie
Henri Texier : contrebasse sur 1, 2, 5, 7, 9, 10, 12
Claude Tchamitchian : contrebasse sur 1, 3, 4, 5, 6, 8, 9, 11
Enregistré au studio Sextan de Malakoff (France) en décembre 2015
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