Bruno Tocanne (dms)

Samuel Blaser (tbn)

Michael Bates (cb)

Rémi Gaudillat (tpt)

Label IMR

 

CITIZEN JAZZ

Un album cohérent et frondeur

Le ton est donné dès le premier titre, «Birthday Memorial», composé par le contrebassiste Michael Bates : une incantation répétée de la basse, ni majeure, ni mineure - un intervalle de quarte ascendante - mais lourde de colère. Un glas. La batterie entre, impaire, chaloupée, temps qui passe ; puis, avec les cuivres, la tonalité s'affirme : sol mineur, couleur du tourment. Mais attention : ici comme dans la Freedom Now Suite de Roach et Lincoln, comme sur Ah-Hum de Charles Mingus, la colére n'est pas abattement mais résistance (Bruno Tocanne est aussi le fondateur du trio Résistances...) : elle est vitale, féconde, joyeuse même. Tout au long de l'album, les sonorités éclatantes, les unissons décalés, les tierces buissonnières, les commentaires narquois du trombone de Samuel Blaser - glissandos, effets de sourdines -, le fil tendu  l'extrême par la batterie, la contrebasse dévalant les pentes à tombeau ouvert - running bass et non walking -, tout cela est vivant au-delà de toute expression. Vital. «Shape»,de Rémi Gaudillat, morceau tumultueux, menaçant et jouissif, est un autre point culminant. Une contrebasse qui geint et gronde sous l'archet, le feu roulant de Bruno Tocanne, l'hymne énoncé par les deux cuivres et souligné par l'archet de Michael Bates qui s'élance en un court solo dans les profondeurs des graves avant d'être rejoint par les soufflants pour un ultime bouquet de sons : un titre comme une barricade, comme un poing levé

Un moment de retenue au centre de l'album : «Alicante», plus élégiaque, mais dépourvu de tout attendrissement factice ; des improvisations généreuses à deux, trois ou quatre («Waiting for», «Le singulier au pluriel », «Le présent du vindicatif ») ; des bribes de jazz presque classique («Interlude 1») ou soul (Voodoo) ; tout cela donne un album cohérent et frondeur qui n'a pas à rougir de la comparaison avec les grands anciens cités plus haut. «4 New Dreams», quartet transatlantique, ne mâche pas ses mots. En ces temps de révoltes salutaires, qui s'en plaindrait ?"  Denis Desassis

 

JAZZWORD

from Rock-styled rhythms plus the tonal freedom offered by advanced improvisation

Moving along parallel yet singular paths, these quartet discs are united by imaginative borrowing from Rock-styled rhythms plus the tonal freedom offered by advanced improvisation. Simultaneously though both trombonist Brian Drye's all-American combo and drummer Bruno Tocanne's French/Swiss/Canadian group express a linkage to more traditional Jazz via their instrumentation. With a front-line consisting of harmonized trumpet (or cornet) and trombone, both bands are give new impetus to a instrumental blend that goes all the way back to Louis Armstrong and Kid Ory or Red Allen and J.C. Higginbotham, and was most effectively expressed in modern times by J.J. Johnson's trombone in tandem with Nat Adderley's cornet or Freddie Hubbard's trumpet.

For a start, however, no one would confuse either band here with a conventional Jazz combo for a start Bizingas features Jonathan Goldberger's guitar or baritone guitar in the spot where Canadian Michael Bates bass does its work on 4 new dreams. But still, a buoyant variant of Hard Bop is expressed by Drye, Goldberger, cornetist Kirk Knuffke and drummer Ches Smith on the first CDs while an equivalent Johnson-Hubbard blend is brought to mind by French trumpeter Rémi Gaudillat and Swiss trombonist Samuel Blaser interplay with Bates and Tocanne on the other disc's punning "Van Gogh".

On "Van Gogh", the bassist's super-fast walking and the drummer's press rolls back up the two brass men flitting from allegro to andante tempo. During its course, Blaser, who often plays with drummer Pierre Favre, brays and tongue twists with freight-train whistles or plunger tones, while Gaudillat's solo explodes with staccato triplets until the two splutter and sputter in tandem at the finale. Less intense than standard Hard Bop, balances on the rolls, pops and flams of Smith, who is also in the Good for Cows duo, and downward strums from Goldberger. Following an episode of staccato, slightly askew brass bites from both horn men, Smith intensifies the backbeat and a head recap flows organically from harmonized brass work.

At the same time, Tocanne, whose musical expressions is also exhibited in the Rock-Jazz Libre Ensemble and as part of pianist Sophia Domancich's Jazz-Chamber trio, doesn't allow 4 new dreams to be a one-trick pony. Gaudillat's "Pas si simple" for instance has a New York Art Quartet feeling, with the composer's triplet runs with popping accents and the drummer's press rolls gradually liquefying into slurring tongue stops and asymmetrical drum beats. Contributing to the time fragmenting is mirrored rubato lines from Gaudillat's trumpet and Blaser's whinnying timbre stretching, mostly conveyed with the use of a plunger mute.

On the other hand, Bates weighty guitar-like twangs coupled with a sturdy back beat make "Alicante", another of the trumpeter's compositions, resemble an updated New Orleans funeral march. Here Gaudillat's gentle capillary tones are mirrored by Blaser. Taking the conception further, Bates andante-paced "Voodoo" matches the composer's weighty ostinato strums with Tocanne's taps and pops, allowing space for the trumpeter most elaborate solo of the session. During its course, Gaudillat moves from bent-note flutter tonguing to stop-time open horn sweeps, finally mellowing to the extent that his emphasized grace notes mate with the bassist`s linear pedal point.

In a textural reversal, Untitled Moog Anthem, the CD's finale ignores the brass blend almost completely for a backbeat-driven riff. Here strident guitar fills that bounce from Rockabilly to Psychedelic share space with analog synth work which resembles radio dial twisting." Ken Waxman

CD BRUNO TOCANNE 4 NEW DREAMS !

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