Vazytouille is a sonic menagerie similar to experiencing Cirque du Soleil. This debut is envisioned by a large ensemble comprised of members from Zoone Libre, a collective of performance musicians, and other artists based in Lille, France. The typecast concept of a big band is a little misleading as the fourteen members represents smaller subsections like string quartet, rock trio and a cappella vocal, united into a larger format. Jazz is only a part of Vazytouille's catalog, as there are many styles swirling together in this mix of sumptuous writing and improvisation.
Combined, Vazytouille's eleven pieces might suggest a lively three-ringed circus with rotating actseach different and elaboratesuch as the entrancing "Du Jour," with its playful merry-go-round dance of vocals and instruments. In comparison, "Babiole" wears a cherubic mask that contains wildly inventive solo vocalizations before setting up the two-part "Masay Christo," with its boisterous horns, a soaring violin solo that builds tension like a flying trapeze, sparring keyboards and an up-tempo boogie rhythm. It finishes with a crunchy backbeat, psychedelic guitar and undulating flutes.
Individual moments are numerous throughout but it is the collective's strength that propels music such as the splendid "Titicaca," where the harmony is elevated by a compelling chorus of voices and music, and the abstract expressionism of "Si... Si...," which contains a procession of spontaneous noises leading into a militarized drum march. An arena filled with talent and imagination exists under Vazytouille's tent, two attributes put to good use on this extraordinary debut.
Track Listing: Du Jour; Orgiak Suite (part II); Orgiak Suite (part III); La Chute; Titicaca; Babiole; Masay Christo (part I); Masay Christo (part II); Dégel; Si... Si...; Bill.
Personnel: Audrey George: flute; Maryline Pruvost: flute; Nahisa Abdou: violin; Sureya Abdou: cello; Christian Pruvost: trumpet; Grazilly Moon: alto saxhorn; Michael Potter: saxhorn; Jeremiah Ternoy: piano; Sakina Abdou: saxophone; Vincent Debaets: saxophone; Jean-Louis Morais: guitar; Mathieu Millet: double bass; Bruno Kamalski: percussion; Charles Duytschaever: drums.
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.