Art does not reproduce what is visible, it makes things visible.
– Paul Klee, Creative Credo – 1920
ALBUM OF THE WEEK
A highly elegiac quartet album comprised largely of the originals of saxophonist Nicolas Masson plus a group improv added, as is freeform loving Manfred Eicher’s wont, in the blend – it’s Masson’s fellow Travelers band of Lausanne born 44-year-old pianist Colin Vallon – known for his work with singer Elina Duni – double bassist Patrice Moret who was on Vallon’s Samares and the Moutier born drummer Lionel Friedli who again are the saxophonist’s playing partners.
Friedl comes alive most on ‘Practicing the Unknown’ [US spelling] but this isn’t an album where the drummer plays groove.
It’s more about legato saxophone phraseology and empathetic piano responses with occasionally the bassist becoming meaningful.
It’s a studio album recorded in France, the same place La Buissonne where Ahmad Jamal recorded his late-period classic, Saturday Morning.
Masson alternates tenor sax with soprano. The title track comes second of the 11 pieces. Two are fairly brief, meaning each land under three minutes long – the stark and lonesome ‘Tumbleweeds’ (which is the group improvisation) and by contrast sentimental sounding ‘Moving On.’
The major piece, both in duration terms and that however subjectively of sheer momentousness, clocking in at just under nine minutes long, is what the album stands or falls on.
Clearly, no need to go to Specsavers – blindingly obviously – it stands tall. Nothing collapses in a heap. It is a fully blown requiem entitled ‘Forever Gone’ and yes it’s gone in a jazz sense additionally because chances are, dearly dishevelled, you too will be blown away by the sheer Belonging band mind and feeling resourcefulness extrapolated in all serendipity.
Turner-esque
Masson (born 1972) is from Switzerland. He studied in Geneva and later in New York took lessons with Chris Potter. There’s a Swiss link in one of the titles here, ‘Basel.’ Timbrally and characterfully most the Masson sound (broad brushstroke) resembles Mark Turner‘s.
Masson’s albums include Awake, Yellow (A Little Orange), and the main work of discographical relevance heretofore, Travelers.
Masson had, oh more than a decade ago, an OK project together who released Third Reel and Many More Days with guitarist Roberto Pianca and drummer Emanuele Maniscalco. This quartet is far more convincing and while this recording is grandiosely monikered as a renaissance clearly is a new considerable peak of achievement for Masson. Listen steadfastly.
Paul Klee again leaps to mind after the epigraph of a starting point earlier in this review given the stature of what’s here, from the same source more than a century ago: ”The relation of art to creation is symbolic. Art is an example, just as the earthly is an example of the cosmic”. Some truths are immutable and some recordings like Renaissance seem built to survive.
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