French pianist Jean-Rene Mourot and associates kindle an invigorating forum on this 32-minute length production. Kicking off the young record label, the trio makes a hearty musical statement with rambunctious risk-taking, counterbalanced by plush melodies, classical movements and orthodox modern jazz fare.
"Kyrielle" commences with bassist Adam Lanfrey's lower register ostinato and saxophonist Michael Alizon's soulful musings as the band varies the pitch via Mourot's use of electric piano and alternating tonalities. Yet the trio's kaleidoscopic characteristics include punchy rock grooves and simmering cadenzas. And on "Angry Men's Blues," the pianist imparts a medium-tempo, Thelonious Monk style rhythmic perspective, incorporating swing and a frenetic bass and drums vamp.
They cut loose during the finale "Schnitzel O' Clock, where the artists' imbue bop and tempered call and response mechanisms, exercised by Mourot and Alizon amid extended note framed choruses and rumbling cadences. They also impart a few Ornette Coleman inferences, configured with elongated melodies.
Mourot's energized spin on the core jazz piano trio format is abetted by a multidirectional deportment. Suffice to state, the album whizzes by due to the excitable sequence of events and rather fleeting time frame. Mourot has quite a few tricks of his sleeve and it would be interesting to see and hear what the future may hold. It's a sharply focused effort as the musicians take care of business and get to the point rather briskly.
Interduction; Kyrielle; La cour des miracles;Prélude; 5.
Achalandage n°7 bis; Angry men's blues; Denise; Esquisse;
Jean-René Mourot: piano, keyboards; Adam Lanfrey;double bass, bass; Arthur Vonfelt: drums; Michael Alizon: tenor saxophone(3,9).
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