2023-05-08 10:42:08
Adrien Brandéis, the Latin-jazz lover
The first story of the day shines its spotlight on a young pianist not Latin for two pennies, who has fallen into the cauldron of Latin music. It was during his academic studies thatAdrien Brandeis falls in love with Latin-jazz. At a time when his classmates are cultivating more classic tastes, they are Michel Camillo et Chick Corea who prance at the top of his personal pantheon.
A first album tinkered with some comrades and here is Adrien quickly spotted. For his second try, he goes to Paris and surrounds himself with the best musicians of the Afro-Caribbean scene, first and foremost Orlando Pennyroyalrenowned Venezuelan percussionist.
Mexico, his “land of opportunity”
His third discographic production entitled ” Always beyond “ was designed during the pandemic. When France reconfines itself for the second time, the pianist is in the middle of a third tour in Mexico which has welcomed him since his first album. He was offered a residence in ideal conditions in a 500-seat auditorium equipped with a grand piano. While in France musicians find themselves on technical unemployment for long months, Adrien has the opportunity to work on his instrument and continue to compose.
Its “land of opportunity” is the setting of the disc: original cover by a Huichol artist, inspiration from the melodic line of a famous regional trio, Los Panchos, cover of a classic, I’m going to turn off the light. But make no mistake: ” Always beyond “ is indeed a Latin-jazz disc, written for a format that Adrien particularly likes: a piano/bass/drums/percussion quartet. He recorded in Monterrey with the Brazilian bassist Giliard Lopezthe Mexican drummer José Loria Triay and the Cuban percussionist Roberto Vizcaino Jr. As for his French live-band, it is no less prestigious: Philip Cabrera (basse), Arnaud Dolmen (battery) and No one in Sotolongo (percussion).
A piano/batá duo approached from a very personal angle
Beyond Percussive Tracks (Huachi-Huachi as an aperitif, a Pancho Power punchy, Vizcanian Blues in descarga mode, with the famous Cuban percussionist Roberto Vizcaino Guillot, father of Roberto Vizcaino Jr, the good vibes, camilien, recorded with Michel Camilo’s own drummer, Horacio The black Hernández), ” Always beyond “ is distinguished by its most peaceful titles: the diptych Ek Balam/A little hope built around the piano/batá duo (traditional drums of the Afro-Cuban religion) approached with a very personal angle and an inspiration that the pianist admits to having drawn from Debussy, Ravel, Dutilleux. In Land of Opportunitieshe frees himself in solo piano from the rhythmic constraints of Latin music.
Raptured and inspired, ” Always beyond “ will delight any Latin-jazz lover.
Adrien Brandeis – ” Always beyond “ (Mantodea Music Productions)
Intimist Thierry Vaton
A first album at 55, and why not? This is what must have been said Thierry Vaton during confinement. Without this cursed pandemic, the pianist might have remained the eternal man in the shadows of the Creole scene. At Salty Kiss, regulars at the rue des Lombards club know that he is the boss. Thierry Vaton’s business card is as long as your arm: musical director of the live band ofAngelique Kidjo in Europe, he worked with Miriam Makeba, Enzo Enzo, Kassav’, Philippe Laville, Dede Saint-Prix, Tanya Saint-Val.
A specialist in Creole music
Biguine, mazurka, belle: “Beautiful Matjoukan” unfolds the beautiful heritage (its translation into Creole) music from Martinique. It must be said that with three books on the subject (including “The piano in Creole music”highly recommendable), co-signed with George Granvilleanother Martinican pianist, he is one of its specialists.
There are so many pianists from the West Indies that he admires… Thierry willingly quotes Alain Jean-Marie, Mario Canonge, Marius Cultier, Daniel Alphonsine or Gregory Private in younger people. But it is the Americans who make him dream: Chick Corea, Herbie Hancock, Quincy Jones arranger side. In “Beautiful Matjoukan”, the musician opts for an electric keyboard. Beyond the touch of modernity, the Fender Rhodes is for him a way to stand out.
After having printed a suave and creole color with remarkable pieces like the introduction My T or the eponymous title of the disc, the pianist indulges in sensitivity with personal pieces such as The Queen Motherwritten in homage to mothers, or Am sorrywhich he composed after his father passed away. Come on, Flamboyantwritten in Yoruba and performed by Angelique Kidjotranslated into Creole by Joachim des Ormeauxthe scat provided by Tony Hunterconstitutes a climax which draws its source in the heart of Africa.
The recording then unfolds a jubilant second part, subtle and chiseled. To accompany it, the pianist surrounded himself with the cream of West Indian musicians: Thierry (low) and Jean-Philippe Fanfant (battery), Michel Alibo (basse), Before Balthazar (percussion) as well as the Cuban saxophonist Irving Action.
Thierry Vaton has two loves: jazz and creole music
Thierry Vaton has two loves: jazz and creole music. Within the big band musicopeia, which he conducts with singer Tony Chasseur, the pianist combines jazz and Creole rhythms as part of a large ensemble. With “Beautiful Matjoukan”Thierry Vaton explores in new perspectives, less spectacular but more personal, all the nuances that the mixture of the two genres allows him.
Thierry Vaton – “Bel Matjoukann” (Fondok Productions)
The mechanical beauty of Canonge & Zenino
In this last chapter, we will not dwell on the story of a pianist, but on the story of a pianist and a double bass player, -better!- the story of a pianist, a double bass player , a saxophonist, a trumpeter and a percussionist. It is necessary to place Mario Canonge. When we say Caribbean pianist, we think Alain Jean-Marie (the reference!) and Mario Canonge. Since its first training, Ultramarine, Sakiyo et Sakesho, Mario Canonge is inseparable from the Caribbean scene.
His story of friendship with the double bass player Michel Zenino got off to a funny start. One day, when Mario’s daughter tells him that the husband of one of his teachers is a musician, the anecdote goes over his head. So, the day the two meet on stage, the pianist says to the bassist: “It’s funny, Zenino is the name of my daughter’s teacher”the other replies: “Okay, she’s my wife!” » The two sidemen, parachuted into a formation they did not know, discover an unsuspected complicity during the concert.
Canonge/Zénino, an unmissable event on rue des Lombards
A duo that formed by accident. It all started with a concert by a trio that turned into a duo following the drummer’s false leap. It’s the revelation, the beginning of a double bass/piano mano a mano between two musicians from different backgrounds. Since 2008, Mario Canonge et Michel Zenino reinvent jazz standards every Wednesday at the start of the evening in an almost telepathic relationship. In 2016, they came up with the idea of trying the adventure of the quintet, the holy grail of jazzmen. They compose “Quint’Up” with four hands even before knowing the composition of the group.
To decree that such or such formation is an All-Stars is easy. When the members of the said formation, in this case the Cuban saxophonist Ricardo Leftthe American trumpeter Josiah Woodson and Guadeloupean drummer Arnaud Dolmen (French musician of the year according to Jazz Mag) are so busy that they can no longer get together, we can tell ourselves that there is some truth. To solve the equation, Michel takes advantage of its location in Paimpolhis adopted city, to invite his comrades to a residence which allows them to finalize « Quint’Up 2 ».
We say to ourselves that it is no longer a question of the quintet of Canonge and Zenino, but simply of Quint’Up
« Quint’Up 2 » was written by Michel and Mario for Ricardo, Josiah and Arnaud. A richer album, shorter tracks, more numerous too. Between the five musicians the communication works perfectly. There is a pleasure to meet again, a pleasure to play. While managing to maintain the tension of the first opus (Not More, Who Speaks, Bagad Be Good) , the recording offers more pauses (KL’s Wedding, Eti Anman, Shoot d’Hope). « Quint’Up 2 »while preserving the matrix, reveals more personality.
We say to ourselves that it is no longer a question of the quintet of Canonge and Zenino, but simply of Quint’Up, for which it would be hard to imagine another cast. It is fascinating to see the evolution of a formation, from the first draft to the beautiful mechanics around which each piece is wonderfully articulated, a formation with full potential. We are already excited to see what these five will deliver next time.
Mario Canonge & Michel Zenino – « Quint’Up 2 » (Aztec Music)
#choice #Jazz #salsa