Internationally acclaimed pianist Eric Legnini recorded his first two albums as a leader on Igloo Records. The multifaceted pianist's releases are resolutely jazz: he released Essentials in 1990 with Stephane Galalnd and Jean-Louis Rassinfosse, and Rhythm Sphere in 1995 with Philippe Aerts, Joe Lovano, and Felix Simtaine. Now, Essentials is once again available. Three energies, three personalities, three experiences merge to form a trio with the hope of transcending the sound and conception of the conventional piano-bass-drum trio. These musicians in tandem have already received a warm welcome on the Belgian jazz scene and at various festivals. The repertoire is made essentially of original pieces by Eric Legnini, and the trio is joined for some pieces by horn players Fabrizio Cassol, Michel Massot, and Pierre Vaiana.
In addition to having a name that is now inseparable from the singer David Linx, under his own name pianist Diederik Wissels is also the creator of music that is both sensitive and refined in the tradition of European jazz tinted with classical music. After the superb “Tender is the Night,” “Streams,” “Song of You,” “The Hillock Sonstress,” and “From This Day Forward,” this new album probes once again- although in different ways- the mysteries of atmospheric themes drawn from soft-focus melancholy. The pianist’s sparse, light notes, whose touch remains luminous, slowly reveal an introspective world that is peopled by his two sparring partners. First, Nicolas Kummert whose contained sax-playing vibrates in tune with soundscapes from Saturn haunted by Scandinavian mist. Then Thibault Dille, whose lyrical accordion creates waves of melody lines while lavishing warm and decisive rainbow colors over the beautiful miniatures. On “Release” and “Dreamcatcher,” singer Emily Allison vocalizes and adds airy worlds that open the music onto a disturbing dream-like world of light and shade. This is music carved by clear, intuitive, intimate, moving and powerfully climatic arrangements; music of few notes but a thousand poetic shades. Through its insidious power, it manages to easily impose a very personal charm.
The Martin Salemi trio offers us a trip through the history of jazz. His first album “Short Stories” is a collection of stylish compositions that alternate between ballads, swing, asymmetrical grooves and rolling rhythms. A few references can be heard from the first measures of Confidence: pianist Nathalie Loriers and above all Enrico Pieranunzi, due to the light touch and his precious way of combining jazz and classical music into something as light and velvety as a summer breeze. But then, right in the middle of the tune, the pianist suddenly heads in another direction, picking up the tempo and welcoming in the fun of swing, running off long suites of improvised notes with the ease of a Keith Jarrett before finally coming, like magic, back to the nonchalance of the opening theme. The rest of the repertoire proves one thing- Martin Salemi is not a man of one style. From Lenni Tristano, whose singularity and exceptional agility are evoked on “Lennie’s Pennies” to the rolling rhythms of “Regina” whose percussive chord-based introduction could be a nod to the bluesy exoticism of the great Horace Silver, we travel easily through he history of jazz.
Entitled "Manifesto," the new album of the Luxembourg-based contemporary jazz trio around the drummer Jeff Herr consists of seven original songs and a surprising cover of Randy Newman's "Same girl." It ensures the continuity of the previous album, "Layer Cake," of the oscillation between structured compositions and free improvisations, as well as of the contrast between the acoustic sound and contemporary interpretation. This time, however, the trio has been joined on several songs by the American guitarist Adam Rogers, known for his work in the modern jazz idiom and his numerous collaborations with musicians such as Norah Jones, Ravi Coltrane, and Marcus Miller. His guitar playing, rooted in the acoustic jazz tradition and influenced by Pat Martino, George Benson, and Wes Montgomery, provides the Jeff Herr Corporation with a unique aspect and a new, intriguing sound.
Mussorgsky's classic "Pictures at an Exhibition," here gets a new and electrifying presentation. This jazz project with a dash of rock energy and electronics showcases the perfect alchemy between these three experienced musicians. Cécile Broché studied classical music, contemporary music, improvisation, and took jazz courses. As a violinist, Cécile Broché has been involved in many different projects, including contemporary music ensembles, free music, working with dancers, with actors, with jazz musicians featuring strings and solo performances. Percussionist Antoine Cirri has been reinventing the jazz scene for twenty years. He studied classical percussion at the Academie de Chenee before joining the improvisation class at the Conservatoire de Liege. The rest, as they say, is history. Born in Liege, Jacques Pirotton began playing guitar at age 14. First interested with rock and blues, he discovered jazz in the seventies. He has been touring as a professional musician for more than thirty years.
Guillaume Vierset combines the poetry of Philip Catherine, the soul of Grant Green, and the sharp edges of Kurt Rosenwinkel. His sparring partners, a dream team of upcoming Belgian talent, are given plenty of room to express themselves, but always at perfectly measured times. Vierset and his collective are ready to forge their own path!
Brussels group Kel Assouf, is back with their second album that will shake the Touareg scene even more. After detours toward Afrobeat, reggae and funk, Anana and the new team now turn their attention to Led Zeppelin and today’s rock. Kel Assouf means both “those with nostalgia” and “sons of eternity” in the Touareg language Tamasheq. The group came together around the exiled Touareg musician Anana Harouna in 2006. From the beginning the group built its identity around two central ideas: the promotion of Touareg culture and the struggle against discrimination. For this new release, Kel Assouf wants to express the stupefaction and perplexity created by a world where war, injustice and pollution are running rampant. With one foot in the desert and the other in the urban jungle, Anana writes about the Sahara, Niger, and everyday life both there and in Europe. Using short phrases similar to Japanese haikus, Anana sings his poetry about humanity and respect. The result is a powerful sound.
