Lapin is much different than Beresford, which in itself is not surprising. Playing somewhere near tonality with dense chordal curtains, Lapin evokes the sounds of late Russian Romanticism. Thus, much of the music has a tension produced by the (seemingly) familiar being heard in a different (spontaneous jazz) context.
Carrier is a very melodic "free" improviser, and Lapin's overall sound seems to bring out something deeper from him. Perhaps the quasi-tonality or tonal center allows Carrier's linear fragments and lines to work off Lapin's implied tonality. For listeners who "need" to be a bit more grounded, this music does provide that and hence is easier to get "inside" of.
The interplay between Lapin and Carrier demonstrates the quickness of their musical reflexes and how in tune they are with each other's aesthetic. Not be forgotten is Lambert, who can get buried at times beneath the low end of Lapin's piano, but his presence is essential, if only felt at times rather than heard.
Those who follow Carrier will revel in this fantastic music. Anyone looking to dip a toe in the spontaneous water will find nothing more worthwhile than the twenty-three minute ending track "Land of Paradoxes."
Music made in the moment where time and space have collapsed.
1. Freedom is Space for the Spirit 14.48
2. Keep Calm 06.42
3. Happiness not for Sale! 09.38
4. Nevsky Prospect 10.52
5. Land of Paradoxes 23.35
François Carrier : alto sax and Chinese Oboe
Michel Lambert : drums
Alexey Lapin : piano
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