The individual careers of Andy Emler, Claude Tchamitchian and Eric Echampard place them among the french, even european, most reputed musicians. Real interactive trio where the music develops and takes place in common, this band is situated between rich and diverse musical styles: contemporary, minimalist chamber-music, with the rock energy and the freedom of improvisation jazzistique. It is a matured, accomplished music and of a delicacy of arrangement and architecture " timbrale " remarkable. The album has a unique sound and his own creative dynamic, served by three accomplished and exceptional musicians.
Challenging music that presents no obstacle to some seriously gorgeous moments. Pianist Angelini is joined by violinist Regis Huby, bassist Claude Tchamitchian and drummer Edward Perraud for a mix of classical, jazz and a bit of folk. The quartet shows a refreshing willingness to flash some sharp teeth even as it prepares its next stunning moment of pure melodic beauty.
Nos ancêtres utilisaient la puissance curative des plantes aromatiques et des fines herbes. Dans toutes les civilisations antiques, on attribuait à celles-ci des vertus médicinales et miraculeuses reconnues. Aujourd'hui, elles font partie de notre table et de nos habitudes culinaires : basilic, menthe, anis, coriandre, ciboulette, persil, ail, estragon, quels que soient nos choix alimentaires et diététiques, les aromates rendent notre cuisine appétissante, savoureuse, agréable et attrayante. …
The reissue of keyboardist Claude Bolling's recordings of the 1960s may prompt a positive reevaluation of his contributions. Bolling has been known, at least outside France, mostly for the flute-and-piano works he composed for Jean-Pierre Rampal; his recordings with Rampal hit a certain popular groove and stuck with the formula. They were undeniably appealing in a simple way, but they became fatally overexposed. Bolling's earlier recordings reveal more imagination in his treatment of the relationship between jazz and classical music. Take for example this 1965 album, recorded in Paris. It's one of the few successful jazz treatments of Mozart, who is notoriously resistant to jazz treatment. The difficulty comes as a result of Mozart's reliance on harmonic rhythm, or the speed of the rate of change of the harmonies in the music. This feature seems impossible to capture in jazz, which heavily relies on regular chord changes, but Bolling's solutions here, making use of a classic jazz sextet, are brilliantly imaginative.