Love follows getting a taste of it… Rémo Gary’s writing is “take no prisoners” as Lou Reed said, as precise as it is dense, moving as it is sensual. 12 songs finely crafted accompanied by well played music.
The insatiable greed of words cannot be find in a top 500 narrow vocabulary. In summary, the man with the skillful pen (for him and others) possesses one of the most beautiful writings (publication of short stories, theater’s plays, multiple shows…): a fluid, joyful and greedy writing.
He’s a naughty artist often talking about a woman or love. Included as well is an original text by Dimey sung by Michèle Bernard with 12 acoustic musicians backing everything up.
Nema’s quartet skillfully mixes tastes and colors, landscapes and moods to get an original and a powerful sound. Nema’s jazz is not conventional it’s explosive!
The album includes original compositions of which one is homage to Vincente Ascenio, an improvisation inspired by Led Zeppelin with minimalist figurative loops….from creation to virtuosity.
An album in the spirit of Brad Maldhau or even Innocent X that keeps the irreplaceable all acoustic spirit. “Jazz, flamingo and progressive rock” that’s the easiest way to describe Nema’s music.
An impulsive and colorful great work. The tracks don’t sum up an esthetic, but serve as vehicle for all styles of Jazz: New Orleans, Swing, Be Bop, Hard Bop, Free, Modal or ethnic traditions are all levers used by Laurent Mignard to offer us music that alternates between the figurative and the abstract.
CHOCTAW SUITE, with hints of Don CHERRY, is a homage to the Indians and their quest for a natural life.
CITY SUITE is a kind of way of looking at the city, its moments of oppression, elegance, irony or intense action.
ALTER EGO SUITE harks back to the duo Don Cherry / Ornette Coleman: 20 minutes of optimism laced with multiple modes of improvisation.
Jean-Pierre Derouard is drummin’, singin’ and he blows the horn, like his Master Louis Armstrong would said.
The trumpet is his main instrument when he leads his own group of well qualified musicians.
In this record, Jean-Pierre Derouard, self-taught trompetist, shares with us his love for Louis Armstrong .
The first bandoneon album entirely dedicated to Thelonious Monk’s music: an extraordinary adventure with one of the undenied master of the instrument.
Olivier Manoury on the bandoneon or doing a duet with the powerful double bass lines of Yves Torchinsky.
Bando Monk is the first bandoneon album which is fully subscribe in Jazz ‘s “tradition”(theme and improvisations).
Dominique Vernhes doesn’t hesitate to mix smuggled alcohols into an eclectic repertory, inspiring from big sources (blues, gospel).
From respectable saps of Jazz, he creates inspired improvisations which distil the elixirs of a swinging and attractive modernity. Traditionnal people or people who are looking for something new can related without judgement to this original, even surprising, sextet sound.
An half-impressionist, half abstract painting, freely painted. The album evokes immediately the work of an half-impressionist, half abstract painter who suggests more than he shows, drawing subtle reasons, brushing strange textures and coloring dark forms with delicate shades.
The musicians torture their instruments to enhance contrasts and develop troubled climat with a free and creative game, alternating floating beaches and turbulent passages in order to put the intention on uncommon harmonies and divided melodies which remind the approach of Bill Frisell or Robert Fripp with King Crimson.
« Gone Tomorrow is a different, captivating, exciting and attaching album which has to be appreciated by small touches like a distrubing painting. » – Jazzman
14 is a piano-voice’s album of 14 songs.
Rémo Gary is accompanied by free and fluttering notes coming from Joël Clément… Complicity of words and notes, Complicity between the author and the interpreter. Between pear and cheese, the artist composes suites of sentences, sense and landscapes.
He shows us a perfect model of french language that we like: a soft, cruel, teasing, and cheerful language; the langage which everybody can relay on.
Lightness, gravity, serenity, and even volupty. we all want to squeeze up to laugh, think and applaud when Rémo Gary is around. he paints a painting with the water on a glassy sea, he evokes the life in metaphors, he makes us reflect/bounce on the word free.t jouent la farandole.
Rémo Gary offers a sincere, popular, refined album in which his words find an incomparable echo beside the group Off 7. This time, the musicians are confronting writing and improvisation, exploring the harmonious progressions, breaking the rhythmic solutions, mixing the melodic references, inventing a directory of delicious brass band where cohabites jazz, contemporary music, ethnic report and French Songs.
The first album of a well known guitarist in the world of bebop .
The entire original directory goes from joyful exoticisms imagined by Marie-Ange Martin for Mexicali to Swing in Spring, where the clarinet gets us back to the spring swing. The pen of Marie-Ange Martin is the most eloquent when she talks about her emotions of jazzfan, evoking the Full House of Wes Montgomery in Sagitario or Tricotism of Oscar Pettiford in Magnetism. When she makes a tribute to Django in Promenade à St Ouen, the one of the recent years, between the false gentleness faces with Hubert Rostaing and the declared modernity “bebop” faces.
Marie-Ange Martin has selected two compositions of her great accomplice, Frederick Sylvester, including Herbie for which he has brought himself an air support.
When Jazz meets the Baroque : a new form of french music appears. Written and free music, carrying by a Jazz’s trio and a quartet of cellos.
With Laurent Mignard, that’s how the impossible becomes reality: Ravel meets Don Cherry, Dutilleux frequents Miles Davis, Debussy speaks to Ornette Coleman…
Spiritual guide of those who are crazy about the blue note (those who wake up and enter in clubs and make their breakfast-dinner in front of the sunrise with a plate of oysters), Vernhes troubled more than one widow behind his sax tenor sound, almost obscured by smoked curtains coming from under the ground, sending sensual and nostalgic notes to the vicious temptations of the street.
The expression of an large imagination about the cinema “underground” and the black american series that marked the audiovisual space of the sixties.
« Crazy Cow » related also in a funny way to the edified adventures of comic strip which had to secure the spirits against the morals doubts that were threatened the American dream… The only difference is that the Vernhes music does not secure anybody because has never followed any style model.