If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Pianist Guillaume de Chassy and bassist Daniel Yvinec tend to be rigorously conceptual in their approach to making records. Previous albums revolved around the jazz treatment of classic French chansons on Chansons sous les bombes (Bee Jazz, 2004), a documentary-like set of jazz chestnuts with vocals contributed by New Yorkers encountered on the street on Wonderful World (Bee Jazz, 2005), and standards played without their melodic lines and given titles from Gary Larson cartoons on Ghost of a Song (Juste une Trace, 2003).
Restricting themselves this time round to songs from the twentieth century is a relatively loose concept. De Chassy and Yvinec take a broad view of the last century, mixing standards including George Gershwin's "Taking a Chance on Love" with selections from the more recent Paul McCartney, Neil Young and Prince songbooks. Their inclusion of the more recent material is less self-consciously hip than other jazz artists who cover rock and roll tunes.
De Chassy and Yvinec holed themselves up with 150 songs and rehearsed exhaustively. That preparation is evident in the empathy between the two on the record. Having winnowed down the set list, the pianist and bassist went to New York to record with Paul Motian and Mark Murphywho last worked together 47 years ago, with none other than Bill Evans. The whirlwind nature of the sessions lends the performances an attractive loose-limbed feel. Murphy, for example, begins "Then I'll Be Tired Of You" still out of breath from having ascended six flights of stairs to the studio. He sounds great, and de Chassy and Yvinec's meticulously constructed cohesion spreads to everyone in the Franco- American quartet.
In a piano trio setting with Bill Evans alumnus Paul Motian, the group must have thought twice about taking on "I Loves You Porgy," famous among the repertoire of the legendary Evans-Motian-Scott LaFaro trio. Nevertheless, de Chassy neither apes Evans nor goes to great pains to differentiate himself: in the shadow of giants, he is at ease and acquits himself beautifully. In the final minutes of the Gershwin tune, de Chassy quotes a measure from Prince's "Condition of the Heart" (the record closes with a full version of that tune). The effortless and lovely juxtaposition is what this record is all about: the continuity of craftsmanship of the great songwriters of the century now past.
Track Listing: Something So Right; I'll Walk Alone (vocal version); I'll Walk Alone
(instr. version); Then I'll Be Tired Of You; Like A Hurricane; Alone
Together; Junk; You Fascinate Me So; I Loves You Porgy; Taking A
Chance On Love; Answer Me My Love; LEtang; I Wish You Love; Condition
Of The Heart.
Personnel: Guillaume de Chassy: piano; Daniel Yvinec: double bass; Paul Motian:
drums (1, 3, 4, 6-9); Mark Murphy: vocal (2, 4, 10, 13).
I love jazz because there are so many styles and ways to interpret the music--so much room for creativity.
I was first exposed to jazz at a very young age, listening to great artists such as Nat King Cole and Lena Horne.