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Erik Truffaz ensures that jazz will continue to grow. On Saloua, he incorporates a world view of the genre, picking up where Miles Davis left off. Tradition remains a part of his music; however, it's been disguised by modern concepts that affect all forms of popular music. Truffaz's horn swirls with the kind of moody melodicism that casts impressions far and wide. Muted trumpet and open horn allow him to express emotions with a lyrical bent. "Whispering" floats gently on smooth jazz coattails.
Reggae and rap enter the album's lineup for a broader picture. Add to that Mounir Troudi's exotic chants, and you have a world view of modern jazz. Truffaz interacts with his two vocal guests to deliver a social message that's intended to wake up his audience. The leader's trumpet, however, takes a diminished role behind these vocal diatribes. He paints landscape scenes that flow gently and mournfully behind the album's lyrics. Truffaz uses his horn merely to color what is being said.
The trumpeter's instrumental numbers provide a better picture of the jazz spirit. "Tantrik" echoes with a soulful open-horn moan. "Spirale" incorporates electronic effects into its moody fusion. "Le Soliel d'Eline" lets the leader's open trumpet express its ballad message clearly with heartfelt passion. "Et la Vie Continue" romps with a raucous muted horn syncopation, while "Ghost Drummer" stirs the traditional spirit with open horn and highly creative techniques. When he opts to step forward, Truffaz gives his audience a firm grasp of the power he holds in his horn.
Track Listing: Saloua; Big Wheel; Whispering; Yabous; Gedech; Dubophone; Ines; Tantrik; Ghost Drummer; Le Soleil d'Eline; Spirale; Et la Vie Continue.
Personnel: Erik Truffaz: trumpet, electronics, melodica; Michel Benita: bass, samples; Philippe Pipon
Garcia: drums, samples, speakerphone; Manu Codjia: guitars, electronics; Mounir Troudi:
vocals, bendir; Nya: vocals.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...