When I’m stuck and don’t have any decent music to listen to – which was temporarily the case until I found this new album – then off I trot and go to the record label brands that I like most currently.
At the moment there are three strong producers in the midst of a fertile period: the Dutch Criss Cross Jazz; New York club offshoot label Smoke Sessions; and Barcelona’s Fresh Sound New Talent (FSNT).
Little from any of these merits a non-committal meh, more a thumbs up usually.
So just going on this branding is fundamentally about the reliable known built up through blood, sweat and tears and a firm handle on what style it is they want to offer up. You know where you are somehow even when you pick up an unknown new artist because of their track record at least for basic navigation.
Point of connection firstly here on this recent FSNT then is the alto saxist on most of the tracks who is someone called Dmitry Baevsky. He reminds me of Zhenya Strigalev a bit, one of the players I like to hear live most although to be frank Baevsky isn’t as strong a player technically or at speed. Nevertheless what’s not to like? It’s close enough to make me as a random punter on the internet enjoy this. But it’s the drummer leader’s record.
Guitarist Hugo Lippi makes his presence felt on the flute flavoured ‘Say You’re Mine’ a Duke Pearson tune that Donald Byrd did a tastily sprightly cup mute version of on The Cat Walk (Blue Note, 1962).
Also on this Studio Sextan, Malakoff April 2024 recording are Horace Silver’s ‘Yeah,’ Cedar Walton’s ‘Clockwise,’ Morvan’s own ‘One For Kochte’ and his far better offering ‘Kneelin’ in the Yard’ – again the guitarist important in the undertow and rhythmically a bit like Nick Costley-White there – plus Bird’s ‘Koko’ and ‘Passport’ one of the weaker renderings given it’s a tad over casual.
Most positive – again flute flavoured – is the version of Thad Jones’ ‘Let’s’ and I always like the inclusion of Willard Robison standard ‘Old Folks’ on a retro loving jazz album such as this French recording which is sentimentally interpreted and yet immaculately delivered in the main melody line by Baevsky.
What makes this leap out of the speakers without even reaching bat-like frequencies are the tunes that contain the pristine flute playing, that’s from one Christelle Raquillet who steals the show. But let’s not forget the sonic ringmaster and Morvan certainly proves ably Art Blakey-esque when up against the ropes. And if you like the style of Northern Irish drummer David Lyttle – yep, we do – then seconds out, round two. Baby he’s for you.
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