The alternative jazz piano trio vibe hits rather poignantly during the start of the opening piece on Ailleurs, "Le Paradis Perdu. With dense bells, cymbals, prepared piano treatments and an ethereal world music sound, you might guess that the Colin Vallon Trio is up to something rather special. The musicians instill budding movements and regal choruses into a set where twelve interrelated works also surface as noticeably disparate musical statements.
The action amid a quasi-freeform and dirge-like spiritual passage during "Swing Low provides but a few of the many highlights here, where the band merely straddles the avant-garde schema. On "Robots, the musicians generate a systematic rhythmic ostinato that sounds like a whacked-out mechanical process.
Vallon's piano work is capacious, intriguing and deceptively complex. On "Mardi, he steers a push/pull motif atop an odd-metered pulse, sparking remembrances of Keith Jarrett's modern jazz-based boogie-woogie grooves. Nonetheless, Vallon and his rhythm section spin a distinctive cycle of events. The concepts that run throughout this program create a new and irrefutably charismatic aura. Saturated with neither effects nor cacophonic expressionism, Ailleurs professes a sense of oneness that hits home from the start.
Track Listing: Le Paradis Perdu; Babylone; Swing Low; Souris; Trenke, Todorke; Sous-Marin; Je Ne Sais Pas; Robots; Zombie; Mardi; Quand Meme; Elle.
Personnel: Colin Vallon: piano, prepared piano; Pat Moret: bass; Samuel Rohrer: drums.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.