BOTH WORLDS LIVE - NORTH SEA JAZZ FESTIVAL - PETRUCCIANI MICHEL - CD

18.90
682066
Artist: PETRUCCIANI MICHEL
Format: CD
Status: Ενημέρωση για την διαθεσιμότητα εντός 24 ωρών
Label: DREYFUS JAZZ/BMG/HN
Release Date: 05/01/2016
Number of Discs: 3
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BOTH WORLDS LIVE - NORTH SEA JAZZ FESTIVAL - PETRUCCIANI MICHEL
Info: Fine box-set with double CD plus DVD with the concert from 1997. Michel Petrucciani, Anthony Jackson, Steve Gadd, Flavio Boltro, Stefano Di Battista, Denis Leloup and second disc features The Hague Philharmonic! Don’t look further for a confirmation of Michel Petrucciani’s playing vitality in 1998, his last full year of life. It’s there, breathtaking and right before your eyes. Three concert excerpts make it clear. On Live au North Sea Jazz Festival, the first CD, the French’s sextet performs the Both Worlds album (reproduced on the DVD) released in 1997. There’s a single change of line-up with Denis Leloup replacing Bob Brookmeyer on trombone. Michel composed six songs, the seventh, Take the A Train is composed by his all-time idol Duke Ellington whose improvisation he exalts with an amazing drive. Petrucciani hardly ever handed over his arranger’s duty and yet, in this case, he did. Bob Brookmeyer skillfully took the lead. In the meantime Petrucciani brought out the splendid group of soloists without losing his own verve. As a result the sextet flies away steered by an opulent and serene rhythm section. The performers delight us from the 35 Seconds and More jolly and skipping unison to the Duke-flavored finale. The brass set the tone on Brazilian Like. Di Battista’s simple and fast-flowing brilliance floods the piece with light. Petrucciani takes over with a balanced approach and a paraphrase of the melody before getting into a stable, inventive and consistent narrative always striving for seduction. He turns the audience upside down with a swinging motion from his left hand Oscar Peterson wouldn’t have look down on. Every note shines like a pearl. Then comes Training. Michel wanted to allude to Coltrane. Steve Gadd’s sharp lead propels Flavio Boltro. The turbulence subsides with Colors.A voluntary slowdown. Brookmeyer instills a touch of melancholy lightened by the well-rounded tones of the piano’s Mediterranean lyricism. Then comes a quirky song title, Chloé meets Gershwin. The producer Francis Dreyfus’s youngest daughter was to audition before joining the singing class of Mady Mesplé. Set piece: Bess, you is my Woman Now, from the Miles Davis’ record Porgy and Bess. Her friend Michel helped her practise. Better yet, he accompanied her the appointed day. Chloé brought the house down ! An unusual way to meet the great American composer George Gershwin… With its lively unison, Chimes crown Gadd’s metronomical playing, whose thorough intro and soloist boost (with an highly acclaimed Leloup) baffles us, especially after a Petrucciani refrain blooming with treasures and clarity. As for Take the A Train, how to describe an accelerating torrent ? A fully confident Michel Petrucciani’s left hand hammering launch an incredible rollercoaster ride full of blues and theme appropriation. Steve Gadd and Anthony Jackson emulate the sound of the rolling wagons from the world-famous A-Train in New York. A chorus of joyful horns from Boltro and Di Battista announce the arrival in the station. The pleasure of playing rubbs off on the overjoyed audience. The Hague performance holds a sumptuous part for us. After Home, as mellifluous as a film score, Trilogy in Blois truly enraptures us. Out and out fans of the 1997 Trio in Tokyo concert will love it. Performed with the Symphony Orchestra of The Hague the bravura bedazzles through the improviser superiority. Jurre Haanstra conducts the Orchestra. The Anders Soldh’s arrangement (who worked with Michel Legrand amongst others) impresses even without a rythm section. Michel flies away through an astonishing solo. He slips the notes with such skill you might think the sequence to be already engraved in his mind as on a story written in advance. Improvisation experts usually break a spontaneous creation in a series of choices through the crossroads of narration. Which is not the case here. There’s a feeling that every single note depends on the previous one. You can’t but admire a show only the likes of Oscar Peterson, Erroll Garner or Keith Jarrett are capable of. You won’t find a more delicate and final, broader and mightier refrain. Many hands stand out: Wayne Shorter’s on the harmonic progression, Bill Evans’ in the voicings. If only a few pieces from the meteor’s career were to be retained, Trilogy in Blois would step on the podium. Better yet, as Michel loved Anglicisms, it would top the short list. Little Peace in C for U finally arrives, the duet with Steve Gadd at the Montreux Jazz Festival. The masterpiece dates back to July 17, 1998. As a tribute to Stéphane Grappelli, the recording is testament to one of the last concerts of Michel Petrucciani. A rare duo indeed, for the pianist would rather offer the saxophonist partnerships, the like he did a week before in Rotterdam. The dotted quarter notes from Michel’s left hand ponctuate the chiseled ballet of drumsticks on snare drums and tams. Once surreptitious, the groove flies to dizzying heights. Several volleys hurtle down in three minutes and an half top. Michel Petrucciani left us on January 6, 1999. The release of this box set proves once and for all if ever need be: the star shone right to the end and his work didn’t age at all. Pianist Franck Avitabile produces the box set. A little nod to history, for Michel Petrucciani produced his in 1998, a year after meeting him in the La Villette festival. The track list quickly established itself. Having actually opened for the sextet, Franck Avitabile kept an accurate memory of the pieces and the the way the audience reacted. One might add his in-depth knowledge of the recordings. According to him, the Brazilian Like solo remains a showcase model of composing for generations of pianists to come. The North Sea Jazz Festival concert puts many a studio session to shame. Franck Avitabile got involved in a treasure hunt. By the way, Alexandre Petrucciani did mention a concert with the Symphony Orchestra of The Hague. Franck Avitabile knew how much this project mattered to Michel. Every pianist keeps the fantasy of such a context in a corner of his mind. On a first listen, Franck Avitabile understood the urgent need to release such a gem. The choice to refrain from using a rhythm section complete the Live at the North Sea and brings to light an overview of Michel Petrucciani broad range of talent. This overview ends on a short film with the duo, an excerpt from a concert in Montreux the following week. However, even if the piano wasn’t tuned by the book the duo’s ardour easily make up for it. Michel Petrucciani had long artistic discussions with Franck Avitabile on the improviser’s need to renew itself through challenging times, on the pressing need to forge one’s sphere whose original message could spring out. Michel Petrucciani succeeded. He managed to take the final step of his quest. The box set is a tell-tale proof. Bruno Pfeiffer Tracklist: CD1 1. 35 Seconds Of Music And More 2. Brazilian Like 3. Training 4. Colors 5. Chloé Meets Gershwin 6. Chimes 7. Take The "A" Train CD2 1. Home (Live With The Hague Philharmonic) 2. Trilogy In Blois (Live With The Hague Philharmonic) 3. Little Peace In C For U (Duet with Steve Gadd) DVD 1. 35 Seconds Of Music And More 2. Brazilian Like 3. Training 4. Colors 5. Chloé Meets Gershwin 6. Chimes 7. Take The "A" Train

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