The Pédron name could soon be equally famous in Germany, not only due to the fact that with his newest album he will join the ACT-family, but also because it is his most personal and extensive project so far. “I had been playing standards, but now I wanted to play my own music,” says Pédron, who after his debut album “Cherokee” (2000) was widely celebrated as an excellent Charlie Parker interpreter. Something that has fascinated him since his youth are the ‘fanfare’ brass bands that are extremely popular in his home country. In Northern France, in the Netherlands and in Belgium they can be found almost everywhere, as both amateur bands and professional groups.
Thirty years after the death of Thelonious Monk, his music seems more of an enigmatic fortress than ever. Perched on the summit of a solitary peak its complex architecture swarms with lavish rooms, bone-dry staircases, unrestricted vistas and treacherous dungeons. The light-switches are halfway down the hall, the bath is in the middle of the bedroom, the toilets in the kitchen, and sometimes all the light-bulbs shine with a pale blue light, while dishes break on their own. Many have tried to live inside Monk's music, and all of them have felt the irregular narrowness of its walls, the continual slope of its flooring; you have to rely on an innate sense of balance and direction if you want to spend some time inside. And yet this is exactly the exploit which Pierrick Pédron has accomplished.
This album is driven by Bramerie’s thumping bass and Agulhon’s pounding drums whilst Pédron plays his alto over the top of the rhythm section. Most of the The Cure’s most famous tracks are covered starting with The Forest and then moving onto In Your House which has some great backing vocals from guest Pourquery. The Caterpillar follows and then my own personal favourite Cure track In Between Days which is interpreted very differently here.