Trio Sud Young and Fine
It's hard to believe that a guitarist as fine as France's Sylvain Luc has been so overlooked by supposedly comprehensive music sites like All Music Guideespecially with albums like today's Rediscovery
, Young and Fine
, featuring his Trio Sud group, out in the world. While you can find Luc at AMG, coverage of his small but significant discography is diminutive, and that's a shame, because Luc may well be one of the finest guitarists you've never heard...and Young and Fine
one of the best jazz guitar trio albums that's been largely overlooked outside of his native country.
With bassist Jean-Marc Jafetwho also contributed four of Young and Fine
's thirteen trackslaying down some thick, muscular grooves on his fretless electric and drummer André Ceccarelli providing fluidly responsive rhythmic support, the album may be largelyl a guitarist's album...but the fact is Young and Fine
is truly a trio
recording that wouldn't be the same, were any of its members replaced. The group's chemistry is particularly abundant on this, its third and final release following 2000's Sud
and 2001's Trio Sud
all three albums on the now sadly defunct Dreyfus Jazz imprintand it is the trio's best recording on a number of fronts.
First, the set list is particularly broad on an album so breezily redolent of the Mediterranean that you can almost smell the sea air. Beyond Jafet's four originals, Luc's three and Ceccarelli's "Avenue des Diables Bleus," with an impressive opening drum solo that resolves into a knotty theme and atmospheric guitar solo that builds patiently into an overdriven, Allan Holdsworth
ian feature, Luc chooses the remaining five tracks with careful consideration. Luc's three contributions are a superb as those from his trio mate: the harmonically abstruse ballad, "Renaissance"; buoyant "French Brother," with its complex start/stop theme and brief but lithely dexterous solo from Luc; and his solo guitar masterclass "Imperfect Tune," with its chiming harmonics, tapped guitar chords and dense voicings.
When it comes to covers, Luc runs the gamut from an ambling version of Edgar De Lange and Jimmy Van Heusen's "Darn That Dream" to a brush-driven, bossa-inflected take on Stevie Wonder
's "Sweetest Somebody I Know" and a nearly unrecognizable look at Dizzy Gillespie
's "Con Alma." Wayne Shorter
's "Infant Eyes" begins with a deceptive a cappella
guitar intro that suggest a funkier reading that never materializes, as the group enters and grooves, to be sure, but in a slower, gentler fashion, while Joe Zawinul
's title tracka tune originally heard on Weather Report
's unfairly overlooked Mr. Gone
(Columbia, 1978) but which never swung as it does hereis a simmering reading where Luc pulls out all the stops and collects a bevy of overdubs and electro-centric sonics, even as it ultimately becomes another fine feature for Ceccarelli.
Throughout the album, Luc employs judicious overdubbing to create a fuller group sound, employing steel and nylon string acoustic guitars along with an electric tone that ranges from warm, clean and clearly articulated to overdriven and heavily processed. But despite the variety of textures Luc employs, his approach to harmony and melodysophisticated yet never sacrificing substance for styleremains consistent throughout...the sign of a guitarist whose voice is fully formed. That Luc has only recently turned fifty (last year) makes his accomplishments all the more remarkable, except that he's been at this longer than most. A true child prodigy who recorded on his first album and began gigging when he was only seven years old, Luc's biggest international claim to fame as been his occasional duet work with another guitar virtuoso, Bireli Lagrene
, but it's his work with the now dissolved Trio Sud and a stellar 2006 solo album, Joko
(Drefyus Jazz), that remain amongst his most impressive accomplishments.
The entire trio distinguishes itself by never overstaying its welcome; only three tracks break the five-minute mark, and a full half-dozen don't even make it to four. Every piece on Young and Fine
feels exactly as long as it needs to beno more, no lessand while solos are often surprisingly brief, they're never less than absolutely perfect, with full attention to the core of the song. Every member of the trio is a full-fledged virtuoso, but there's nary a gram of fat to be found anywhere.