An unusual and captivating work from the trio of saxophonist Alexandra Grimal, double bassist Benjaim Duboc, and cellist Valentin Ceccaldi, leading their album with tracks from "Respirer l'ombre" by Giuseppe Penone "spontaneously used without permission but with great admiration," leading to powerful and unpredictable directions in free improvisation; excellent.
Cette suite d'environ 55 minutes est une sorte d'opéra de poche pour trois musicien(ne)s, issu(e)s de l'Orchestre National de Jazz dirigé par Olivier Benoit. Elle avait été créée en avril 2016 dans le cadre du festival 'Jazz Or Jazz' d'Orléans, et commandée par la scène Nationale d'Orléans, dans les locaux de laquelle elle a été enregistrée l'année suivante pour ce disque (publié avec le concours du label MFA-Musique Française d'Aujord'hui). La forme générale mêle des espaces écrits et des plages improvisées, entre lesquels le tuilage se fait en une sorte de fondu-enchaîné. La voix d'Alexandra Grimal paraît être à la fois le déclencheur du discours et de la forme, tandis que les appeaux, les effets électroniques, et surtout le saxophone en seraient la substance matérielle, l'horizon concret où l'abstraction prend corps.
Re-weaving link blesses between the jazz and the hip-hop, Movezom explores the furrow draw by John Coltrane by conferring on him an urban and current dimension. Voices and texts of MC' S here come to resound in the quoting of saxophones, ropes, of battery and of machines by embracing big themes with mark the work of the saxophonist. Compositions, sailing between beats hip-hop, Free jazz and contemporary music, are so much occasions to discover or to rediscover the most emblematic pieces of Coltrane, those notably last period of its life. Revisiting The Trane is vibrating homage to one of the biggest musicians of last century. It is also a disc which questions the today's jazz across its filiation with the rap and tries to give sense to the cultural inheritance of a music resolutely turned to future.
The third album of the ONJ offers an exciting foray into contemporary music. Through two original pieces written specially for the Orchestra, Benjamin de la Fuente and Andrea Agostini deliver a highly personal vision of Rome that borrows from souvenirs and reawakened emotions, and from their own intimate rapport with the city. Two contrasted works that oscillate between high-voltage outbursts, irresistible orchestral masses, and more melancholy, intimate passages, improvisations and rock explosions included… EUROPA ROME, a new album guaranteed to muddy the trail of music genres!