Tout l'été, "Déclectic Jazz" vous propose de revenir sur les bons moments partagés avec les invité.es de la saison 10.
Pour cette troisième émission florilège, nous revenons sur notre échange avec le tromboniste suisse Samuel Blaser, en duplex à Berlin, pour "1291" & ses "18 monologues élastiques" le 24 septembre 2020.
Le 18 février 2021, Nicolas Pommaret recevait le trompettiste Yohan Giaume pour la présentation de son premier opus 'Whisper of a Shadow'.
Le 20 mai 2021, Nicolas Pommaret recevait le tubiste Thomas Leleu pour l'album "Born to Groove".
Et enfin, notre dernier invité de la saison, le corniste Alexandre Jous était avec nous le 27 mai, pour la sortie de son film "Chaque montagne a droit à sa musique... à Manigod".

Programmation :
. "Belafonte" - Samuel Blaser - '1291'
. "Les Oignons" - Samuel Blaser - '1291'
. "The Blues is Green" - Samuel Blaser - '18 monologues élastiques'
. "7even - Samuel Blaser - '1291'
. "Mascarade" - Yohan Giaume - 'Whisper of a Shadow'
. "Life Circle Part 2-Birth" - Yohan Giaume - 'Whisper of a Shadow'
. "Suite Brésilienne" - Thomas Leleu - 'Born to Groove'
. "Marigot Bay" - Thomas Leleu - 'Born to Groove'
. "Alp'Horn in the Street" - Alexandre Jous - 'Alp'horn in the Street'
. "Chaque montagne" - Alexandre Jous - 'Chaque montage a droit à sa musique'

Declectic Estival 3 / Cuivres

Recorded by Paul Wickliffe on March 19th 2022 at Charlestown Road Studio, Hampton, New Jersey. Mixed and mastered on July 9th 2022 by Paul Wickliffe.

composed by John H. Mercer (Johnny Mercer Music Pub Inc)

Roundabout / Triple Dip

Love Song from "Apache"

Available here: http://bit.ly/2a3r6SN

JOHANNES OCKEGHEM 
Missa Cuiusvis Toni
Ensemble Musica Nova

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OCKEGHEM // Messe in D: I. Kyrie

From Lucian Ban, John Surman & Mat Maneri's "Transylvanian Folk Songs" (5/15/20) on Sunnyside Records.

Artists’ greatest inspiration often comes from sources that once surrounded them in their native communities. Pianist Lucian Ban, violist Mat Maneri and woodwind master John Surman come from different backgrounds but are connected by their focus on improvised music along with their appreciation of folkloric and classical styles.
Their mutual interest in the work of Hungarian composer and ethnomusicologist Béla Bartók led to their new recording, Transylvanian Folk Songs, an assortment of arrangements of folk songs collected by Bartók in Ban’s native Romania.

In the early 1900s Bartók was introduced to the folk music of the Romanian people in Transylvania. His immediate infatuation with the music led him to a lifelong pursuit to record and catalog these beautiful regional pieces. Bartók spent eight years traveling the Romanian countryside recording and transcribing these pieces, which he would spend the rest of his life collating into six catalogs containing over three thousand tunes, simply entitled Romanian Folk Music. The composer’s own compositions would be influenced at every level by his folk studies.

A century later, these three outstanding improvisers – Mat Maneri, Lucian Ban and John Surman – draw fresh inspiration from the music that fired Bartók’s imagination, looking again at the carols, lamentations, love songs, dowry songs and more which the composer collected, in the period between 1909-1917.

Lucian Ban grew up along Bartók’s collecting path in Transylvania and by the end of the ‘90s he would leave Romania to pursue his career in jazz music in New York City. But the music of his native land continued to inspire his work, most notably in his own compositions as documented on the Songs from Afar (Sunnyside, 2016) or the classical music of Romania’s famed composer George Enesco on Enesco Re-Imagined (Sunnyside, 2010) but also with his work alongside Maneri on Transylvanian Concert (ECM, 2013).

Brooklyn born and Boston bred Mat Maneri grew up in an extremely musical household. His father was a tremendous clarinet and saxophone player and his mother an amateur vocalist who spent much of her time around the church. The younger Maneri was attracted to music of all types, from rock and gospel to modern classical and the avant-garde. Maneri had an early attraction to Bartók’s music, responding instantly to the folkloric influences, which were reminiscent of music he grew up listening to at home.

As Ban and Maneri first began conceiving their re-imagination of the Bartók Field Recordings, they considered who would be a good foil for their well-established duo rapport. They also wanted to consider who might fit in best as an improvising instrumentalist who also had a folk music sensibility. The great John Surman was a perfect fit, as he has spent decades creating a singular sound on bass clarinet, and soprano and baritone saxophones, informed by his pastoral upbringing in Devon, England.
The pieces that Ban and Maneri chose came directly from the Bartók field recordings catalogs. As there were so many pieces, Ban arranged for 150 pages to be copied from the different volumes, which were broken up into instrumental and vocal pieces, and included carols, dowry songs, laments and love songs. Ban and Maneri then played through the pieces together, selecting the ones that spoke to them, making sure there were diverse styles and instrumentation (usually for violin, flute and bagpipes) and that were well suited for adaptation by their trio. They also got digitized copies of Bartók’s original wax cylinders recordings of these pieces from The Budapest Bartók Archives to further enhance their approach.

Transylvanian Folk Songs

Lucian Ban / John Surman / Mat Maneri - The Dowry Song

From Glenn Zaleski's "The Question" (7/17) on Sunnyside Records.

The summer of 2019 brought pianist/composer Glenn Zaleski to a new milestone in his life. As he left his twenties, he also found out that he was expecting his first child. This led Zaleski to a period of reflection. He began to reexamine his youthful early interpretations of the world, the media and life in general, preparing himself for this transitional period. 

Zaleski discovered that his initial concerns might not have been the ones he should be focusing on. He may have been distracted from his path and might not have been asking the right questions. Zaleski’s new recording, The Question, explores the mood during this period of uncertainty and reflection. It also marks the pianist’s return to an ensemble, the quintet, that provided a great deal of inspiration earlier in his development. 

Zaleski was raised in suburban Massachusetts and began playing jazz locally early with his saxophonist brother. He spent time at the Brubeck Institute at the University of the Pacific and at The New School in New York City. It was at the New School that Zaleski began to favor the quintet for his musical demands. The instrumentation is a staple of jazz music from bebop through post bop, providing two horns along with a rhythm section of piano, bass and drums. The classic quintet was essential to the sounds of the 1950s and 1960s, from Art Blakey’s Messengers to Miles Davis and the Blue Note Records sound. 

The pianist’s step into the recording world necessitated Zaleski pushing his piano playing and leading skills into the foreground. He put the quintet, the format that he began with and felt most comfortable in, on the backburner and recorded a number of excellent releases for trio and solo piano. 

Summer walks in Brooklyn’s Prospect Park led Zaleski and his wife to the sanctuary of The Vale of Cashmere, a small, secluded pond densely populated with flowering trees. This became a favorite spot for Zaleski to meditate. It also became the spot where he began to compose and catalog music for an upcoming August performance, where he intended to revisit his favorite ensemble format, the quintet. 

Zaleski’s choice of instrumentalists was easy and inspired. He knew that he wanted to feature the incredible sound of tenor saxophone and trumpet as leading voices. Saxophonist Lucas Pino is one of the pianist’s oldest friends and collaborators, so there was no question about his involvement. Trumpeter Adam O’Farrill is a more recent acquaintance but one that Zaleski wanted to revisit after first playing with O’Farrill seven years ago. 

The rhythm section includes two musicians that Zaleski has long admired and performed with. Bassist Desmond White has been a regular collaborator with the pianist since college and drummer Allan Mednard has been a favorite time-keeper on many stages.

The Question

Glenn Zaleski - The Question

From Adam Nussbaum's "Lead Belly Reimagined" (8/28/20) on Sunnyside Records.

The music of Huddie Ledbetter, better known to the world as Lead Belly, is some of the initial sounds that introduced African American music to the world at large. The presentation of this singular artist changed the way the public heard music and shifted the dynamics in what was soon to come in the music industry, namely the adoption and promotion of Black music as a valuable commodity.

There are reasons aplenty for the music listening population’s attention being swayed by Lead Belly. The songs that he sang were appealingly forthright and uncomplicated. His voice and powerful 12-string guitar were strong and enticing. Because of his magnetism, Lead Belly’s music remains a touchstone in blues’s evolution into rock, soul and jazz music. 

Two years ago, Sunnyside released drummer Adam Nussbaum’s first true recording as a leader, and fantastic tribute to one of his idols, The Lead Belly Project. Nussbaum’s band of saxophonist Ohad Talmor and dual guitarists, Steve Cardenas and Nate Radley, ably channeled a program of Lead Belly tunes chosen by the leader, mainly culled from the Folkway Recordings 10-inch records Nussbaum grew up listening to. The project allowed Nussbaum to show another side of his musical character that he hadn’t previously been able to showcase regularly during his remarkable forty-year career. 

The ensuing years allowed Nussbaum and company to tour both in the United States and Europe. The group’s incredible chemistry was only heightened by their extended time together. Their program was also expanded as Nussbaum encouraged the others to investigate Lead Belly’s catalog and bring in pieces that they felt would fit within their balance of lyricism and adventurousness. 

Nussbaum’s trust in these incredible musicians and their efforts made it easy for them to fully express the meaning in these pieces without any complicated intentions. The roles between the members of the ensemble were fluid and balanced, the only requirement of the guitarists remained to spread out from one another and avoid doing the same thing. 

In July of 2019, Nussbam and the ensemble returned to Talmor’s home studio, Seeds, in Brooklyn. They recorded with no separation between the musicians and entirely live. The musicians’ comfort with the material and each other can be heard in the results, as the pieces have an emotional intimacy that goes beyond their prior efforts. The result of these recordings can be heard on their new album, Lead Belly Reimagined.

Lead Belly Revisited

Relax Your Mind

Adam Nussbaum - Relax Your Mind

From Adam Kolker's "Lost" (9/25/20) on Sunnyside Records.

There is a transcendental place that musicians can reach during performance. A space where they get lost in the music, letting the years honed skills and natural inclination take control. Many of the exhilarating moments in improvised music come from the sudden shift, the accentuation of razor sharp focus, to get back on course.

The title of saxophonist/composer Adam Kolker’s new recording, Lost, comes from a composition by the legendary Wayne Shorter, an obvious master of thoughtful intention and extemporaneous expression. Kolker has sought to find a similar esthetic in his own work and has achieved that on his new recording that finds him in the company of an ensemble of friends, making fantastic, explorative music without ego. 

The Philadelphia raised, Brooklyn based Kolker has found himself amongst many of the greats over his three-decade career. At home in any context, he can be heard playing a multitude of reeds with musicians as diverse as Ray Barretto, Fred Hersch, Maria Schneider and John Abercrombie. Kolker’s understated approach belies his brilliance as an improviser, leader and technician.

Kolker’s initial concept for this recording was for it to be a collection of Shorter’s pieces. But as time went by, Kolker realized that everything that he writes or plays utilizes Shorter’s influence as inspiration; Shorter was one of the main innovators of the modal harmonic revolution, which brought on moods and tensions being generated by the use of certain modes. This realization freed the recording of conceptual restrictions and allowed for a broader array of expression from the exceptional ensemble that Kolker put together. 

The quartet that was assembled includes longtime collaborators and friends, all equal in making this remarkably communicative music. Pianist Bruce Barth has been a sounding board both on and off the concert stage, his ease and wit fitting easily alongside Kolker. Bassist Ugonna Okegwo remains one of the steadiest timekeepers and most powerful accompanists. Drummer Billy Hart is remarkable on every level, bringing energy and an air of professionalism to everything he does.

Lost

Adam Kolker - Lost

From Michael Wolff's "Live at Vitellos" (3/19/21) on Sunnyside Records.

A wonderful document of the versatility and touch of pianist Michael Wolff, Live at Vitellos was recorded in live in performance at Los Angeles's premiere jazz venue. Features Wolff with trumpeter Mark Isham, bassist John B. Williams and drummer Mike Clark.

Live at Vitellos

Ballad Noir

Michael Wolff - Ballade Noir

shinji looking outside a car window trying to calm himself down because he doesnt want to go to his job at walmart, but he has to in order to pay rent

shinji doesnt want to work at walmart

🎵 stream "Our  Way" with Daniel Humair and Heiri Känzig https://samuelblasermusic.ffm.to/ourway

Samuel Blaser is a Swiss trombonist and composer. 

For booking requests or any questions please email booking@samuelblaser.com

Love Song from "Apache"

BLASER MUSIC