FRENCH CRICKET

Recorded in 2002 with the sextet then known as Brunt’Off, this essential opus in Gary Brunton’s discography, which had never been made available on streaming platforms, will finally be accessible to all on 23 January 2026. The artist offers us a veritable time capsule, allowing us to rediscover a fruitful period in his career. For the Juste Une Trace label, this is a timeless album, a true debut album, which will surprise listeners with its vitality, its openness to contemporary music and the spontaneity of the musicians involved, who would go on to collaborate on numerous projects in the decades that followed.

The origins of a unique production : Brunt’Off and French Cricket

The album French Cricket is the culmination of a major artistic transformation for Gary Brunton. After moving to France in 1988, he spent his first few years rigorously studying classical double bass and working as a sideman in ’straight ahead’ jazz, while seeking to meet his double bass idols such as Ray Brown and Gary Peacock

However, at the turn of the millennium, decisive encounters with musicians such as Noël Akchoté, Pierre Christophe and Edouard Ferlet led him towards a more personal approach, focused on composition and group creation.

Inspired by masters such as Mark Helias, John Abercrombie and Dave Holland, Gary Brunton created the quartet ‘Brunt’Off’ in 1997, which quickly evolved into a sextet. The 2002 recording, French Cricket, immortalises this exceptional group, bringing together Gary Brunton, Jean-Charles Richard (baritone/soprano saxophone), Éric Löhrer (guitar), Édouard Ferlet (keyboards), Frédéric Norel (violin), Luc Isenmann (drums) and, on certain tracks, Sandrine Deschamps (vocals) and David Quinn (mandolin, bodhrán).

The title, ‘French Cricket’, is not insignificant. It evokes the improvised form of cricket popular with children, played in the street with makeshift equipment – a symbolic image of the free, ingenious and uninhibited spirit that permeates the album’s music.

A Resounding Critical Success

From its initial release, the album French Cricket established itself as a highlight of French jazz. The press praised the originality and intelligence of the approach: the album received a glowing three-star review in the prestigious Jazz Magazine* and was nominated for the Victoires du Jazz awards at the Palais des Festivals in Cannes.

A varied emotional and stylistic palette

French Cricket is a true mosaic work in which Gary Brunton’s compositions explore unexpected sonic territories, blending the heritage of jazz with the most diverse influences.
‘Nappy Happy’, composed at the birth of his daughter Jade, is a concentration of joy, funk and groove, reminiscent of the energy of John Scofield’s concerts.

‘Blackpool Girl’ evokes the often cloudy atmosphere of Blackpool, a coastal town in north-west England. The three-part track alternates between a rubato intro, a theme with a funk groove backdrop, and a jazz waltz B section with touches of jazz violin and distorted Rhodes. This composition by Gary Brunton would reappear a few years later on the album Second Trip (2021), but performed with Bojan Z and Simon Goubert.

‘Teetotal’ is another surprising track where Gary Brunton and Sandrine Deschamps launch into a rap duet (for real), candidly addressing the social pressure experienced during his adolescence in the United Kingdom.

‘Crisis Point’ depicts the rapid transformation of a romantic relationship: from happiness to the chaos of total misunderstanding, before a possible reconciliation. The track is built on a powerful riff, using classical strings played with a bow, electric guitar, and bass flanger effects in the spirit of Herbie Hancock.

‘Pippin Fort’ is designed in three parts, drawing inspiration from a BBC children’s television programme, Trumpton. The track navigates between odd meter and Latin jazz nuances, evoking the atmosphere of a military fort.

‘Tim’s Tune’, which will also feature on Gwawr (2024) album, is a moment of pure emotion. Gary Brunton expresses grief and resilience in the face of the loss of a son. This soul-jazz ballad, tinged with blues and distorted guitar, conveys a poignant message of hope.

‘Tel de Ref’, an anagram of ‘Ed Ferlet’ (Édouard Ferlet), is a piece in three movements. It begins with a melody inspired by the pianist’s universe, continues with an oriental groove backdrop for the saxophone, and ends with an experimental and psychedelic duet of guitar and Rhodes.

‘Olivia’ is a ballad of moving depth, dedicated to a friend who left us too soon. The piece blends the free and melodious spirit of John Coltrane with the sounds of Irish folk music, enhanced by the presence of Scottish mandolin player David Quinn.

As its name suggests, ‘Hit Wicket’ refers to cricket. It is one of the most humiliating ways to be given « Out ». It is one of Brunton’s first compositions written in an odd time signature (7/4). It is also an energetic jazz groove dominated by organ and soprano saxophone, evoking the influence of Dave Liebman.

To finish the album, ‘Crazy Horses’ is a kind of joke by Gary Brunton. In fact, he followed Gary Peacock’s advice to ‘draw on the songs that made an impression on you as a child’. ‘Crazy Horses’ is therefore an explosive reinterpretation of the Osmonds’ 1972 glam rock hit. Wayne Osmond (one of the brothers) passed away in 2025 and as his family appreciated Gary Brunton’s cover, we are giving him another nod.

For Gary Brunton,“The idea behind French Cricket was to go beyond the jazz standards and create our own language, to free ourselves up, break away to get an insight of what the future might hold. Ultimately, this album is part of our roots and has helped shape our lives in music. Seeing French Cricket finally available digitally, more than 20 years after its creation, is a huge satisfaction and a real opportunity to share this music with new generations.”