QUARTETT
SEFFER - KESSLER
MECHALI - GRITZ
Quartett Yochk'o Seffer,
Siegfried Kessler
Homage To Monk
SEFFER - KESSLER
MECHALI - GRITZ
Quartett Yochk'o Seffer,
Siegfried Kessler
Homage To Monk
Yochk'o Seffer : saxophone
Siegfried Kessler : piano
François Méchali : double bass
Peter Gritz : drums
The formation of Yochk'o Seffer, which brings together four musicians certainly more creative, made a success of this wager which was to confront itself with colossal work of Thélonius Monk and this, without that implying a reproduction of the "sound" Monk.
Monk is their inspiration to sublimate their own music, to draw some from new resources, to show the treasures that she still conceals.
Greeted unanimously by criticisms, this formation is the result from an admirable agreement between four personalities and a formidable complicity between the saxophonist and the pianist, which gives an extraordinary dynamics to the ensemble.
" splendid because alert and alive Music : M? that Monkienne by that even " - Jazz Magazine - 1987.
Monk is their inspiration to sublimate their own music, to draw some from new resources, to show the treasures that she still conceals.
Greeted unanimously by criticisms, this formation is the result from an admirable agreement between four personalities and a formidable complicity between the saxophonist and the pianist, which gives an extraordinary dynamics to the ensemble.
" splendid because alert and alive Music : M? that Monkienne by that even " - Jazz Magazine - 1987.
| Y. Seffer: very active pedagogically in various academies, he has been omnipresent on the International scene for 20 years. (Rounds: The United States, Japan, Europe, etc). Significant discography, to note the last 2 CD "Monk for Ever" with S. Kessler, F Méchali and P. Gritz, and "Prototype", with B Phillips, B Altschul. |
Thélonius Monk, genius of the modern music, was an artist who, like all the authentic creators, disturbed much. The asperities of its rhythmic play and its taste for the intervals dissonants - kinds of residues from a harmony summarized at its most projecting points - intrigued musicians and commentators. Its inorthodoxe approach of the keyboard diverted those which link themselves more with the brightness that at the depth. The difficulty of execution of its compositions made move back more as one interprets.
But today that time made order in the spirits, the work of Monk shines with brightness which returns to him in the heritage of the jazz music: a pure diamond.
The most creative musicians, those which contribute for their part to the enrichment of the strongest musical current that have considering this century, approach with enthusiasm this repertory forsaken too a long time. With proof this blazing disc where four width musicians chose to recreate eight among the sixty-two listed compositions of the "grand priest of the be-bop".
Vis-a-vis the works strongly marked by the personality of their author, and rich in experiments of adventures, our four instrumentalists chose, not the imitation of the originals, nor an off-hand interpretation which would dissolve the spirit of each piece like a vulgar "standard", but a kind of impregnation of Monk spirit and its contribution, which in is also a prolongation. And it's well the privilege of the best than to be able as well as possible to serve a work external with them, without betraying their own personality.
But today that time made order in the spirits, the work of Monk shines with brightness which returns to him in the heritage of the jazz music: a pure diamond.
The most creative musicians, those which contribute for their part to the enrichment of the strongest musical current that have considering this century, approach with enthusiasm this repertory forsaken too a long time. With proof this blazing disc where four width musicians chose to recreate eight among the sixty-two listed compositions of the "grand priest of the be-bop".
Vis-a-vis the works strongly marked by the personality of their author, and rich in experiments of adventures, our four instrumentalists chose, not the imitation of the originals, nor an off-hand interpretation which would dissolve the spirit of each piece like a vulgar "standard", but a kind of impregnation of Monk spirit and its contribution, which in is also a prolongation. And it's well the privilege of the best than to be able as well as possible to serve a work external with them, without betraying their own personality.
| F. Méchali: professor in various academies, François Méchali is a musician much in demand on the International scene (K Whuler, D. Humair, E Rava, Y. Kuhn, etc.) More than 25 discs to its credit of which "Monk for Ever" with Y. Seffer, S. Kessler and P. Gritz, and in trio A. Jaumpe, D. Humair. |
The example from Siegfried Kessler is for this reason remarkable and will surprise only the ignoramuses of his extraordinary harmonic science, and its taste of always for the percussif treatment of the keyboard. Very Monkien in particular on "Brilliant Corner" and "Trinkle tinkle", it makes a success of the incredible performance to enrich the original harmony without him to make lose of its tonic acidity.
Yochk'o Seffer is measured in the gigantic shades of the saxophonists whose memory haunts interpretations of origin. Intelligently, he knew to avoid their powerful attraction to approach the topics with its manner: thus report of "Brilliant Corner" where, thirty years after Sonny Rollins, he reinforces the strange angular with the melody by the consumption of sax-low, doubled by a harmonisor at the higher octave. In the same way, the consumption of the sopranino, rare instrument and difficicle, in the famous "Round Midnight" is a first.
The double bass player François Méchali brings to the quartett the roundness of his splendid sonority. Do its average techniques enable him to offer solos at the same time disjoined and singing, and it to us gratifie from a contrechant with the arch in the exposé of "Think of One" who tickles agreeably the hear.
Peter Gritz is a beater which have particularly distinguished himself in the younger generation by its musical quality and its flexibility. The relevance of its interventions makes wonder.
One needed all these qualities joined together to make a success of this wager. Because to play the music of Thelonius Monk, all things considered it's to confront itself with a work of most extreme of the history of the jazz.
Yochk'o Seffer is measured in the gigantic shades of the saxophonists whose memory haunts interpretations of origin. Intelligently, he knew to avoid their powerful attraction to approach the topics with its manner: thus report of "Brilliant Corner" where, thirty years after Sonny Rollins, he reinforces the strange angular with the melody by the consumption of sax-low, doubled by a harmonisor at the higher octave. In the same way, the consumption of the sopranino, rare instrument and difficicle, in the famous "Round Midnight" is a first.
The double bass player François Méchali brings to the quartett the roundness of his splendid sonority. Do its average techniques enable him to offer solos at the same time disjoined and singing, and it to us gratifie from a contrechant with the arch in the exposé of "Think of One" who tickles agreeably the hear.
Peter Gritz is a beater which have particularly distinguished himself in the younger generation by its musical quality and its flexibility. The relevance of its interventions makes wonder.
One needed all these qualities joined together to make a success of this wager. Because to play the music of Thelonius Monk, all things considered it's to confront itself with a work of most extreme of the history of the jazz.
DIDIER LEVALLET
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