Labels > Cam Jazz > Martial Solal > Martial Solal Live At The Village Vanguard

Martial Solal

Martial Solal Live At The Village Vanguard

Cam Jazz CAMJ 7814-2

Item: full_album_8024709781420_CD

Artists :
Martial Solal ( Piano )
Release date
Nov 4, 2008
Duration
0:49:27
Barcode
8024709781420

The pianist Martial Solal opened his week at the Village Vanguard on Tuesday night by rolling through tunes that jazz musicians have been amusing and sharpening themselves with for 50 years or more… One of the world’s most imposing jazz musicians — being 80 has not dimmed his agility or his imagination — he interpreted each passing moment of the songs as a provocation: spinning out a quick cycle of chords from just one, or interrupting the shape of a melody to add on a whole new structure, invented at breathtaking speed… (B. Ratliff - The New York Times)


Recorded in New York on 12 October 2007 at The Village Vanguard Recording engineer James Farber 


Photos by John Abbott


Nominations: GRAMMY(r) 2010 Best improvised jazz solo "On green dolphin street"

Reviews

MARTIAL SOLAL Live at the Village Vanguard
Autumn in New York… Une semaine de piano solo, la seconde dans toute l’histoire du club! Il faut donc que Lorraine Gordon, pétulante octogénaire, admire le pianiste français pour lui avoir proposé, avec insistance, de défier New York en solitaire. Présent quatre jours sur six, je peux en témoigner: tout ce que la ville compte de pianistes et de critiques a défilé, soir après soir. Critiques unanimement dithyrambiques, à commencer par le New York Times, qui donna le ton. Pianistes incrédules face à la dialectique si personnelle de Martial Solal: une connaissance intime, quasi radiographique, des standards et, en même temps, une insolente liberté. Le mardi 9 octobre, Martial fit connaissance avec un piano qui lui résistait ; le lendemain, la fluidité était au rendez vous. Le jeudi et le vendredi faisaient l’objet d’un enregistrement couplé entre l’album et un portrait réalisé pour “Arte”: l’état de grâce. Sauf pour l’exigence impitoyable de Martial. Il préféra définitivement les sets du vendredi (objets de présent CD) et considéra le sommet atteint le dimanche, hors captation… Pour comprendre ce qui s’est joué, qui apparut “révolutionnaire” à la critique américaine (le mot fut utilisé), il suffit d’écouter l’ébouriffante version de “Round Midnight”. Quatre générations de pianistes qui se sont confrontées au thème de Monk vont être sidérées que son potentiel de fraîcheur puisse être à ce point intact! Quant aux deux originaux, “Centre de gravité” et “Ramage”, ils naissent de Cecil Taylor, croisent Ran Blake et s’en vont musarder sur la mémoire d’Art Tatum. Il y a tant de musique, par brassées, dans chaque phrase, que l’on en oublie le piano lui-même. Paradoxal? Non: magistral.
07/11/08JazzmanAlex Dutilh
La solitudine perfetta di Martial Solal dal vivo
Quando il pianista francese Martial Solal registrava questo disco, al leggendario Village Vanguard di New York, aveva appena compiuto 80 anni (era il 12 ottobre 2007); si può dire che la sua resa straordinaria ne faccia l’Horowitz del jazz, anche se il vero punto di riferimento del pianista è il miglior Art Tatum. Solal si propone nella formula prediletta, quella del recital solitario, che gli permette di prendere le direzioni musicali più inattese. Quando poi è davanti a un pubblico complice, come qui, la sua brillantezza supera qualsiasi limite. A parte due gustosi “esercizi di stile” di sua invenzione, si dedica a standard spesso abusati e il gioco si fa ancora più entusiasmante, perché l’ascoltatore partecipa con lui della loro reinvenzione. Un disco sopraffino, senza un attimo di cedimento.
21/12/08Corriere della SeraClaudio Sessa
Martial Solal – Live at the Village Vanguard
E’ difficile verificare se sia vero quanto affermano i materiali informativi su questo disco, cioè che si tratti della prima volta che al Village Vanguard si registra un disco in piano solo, ma, dando per buono l’assunto, non è un caso che l’onore spetti a un vero gigante del jazz europeo come Martial Solal, complice la CamJazz, che sembra avere colmato in questi ultimissimi anni la mancanza di attenzione verso un artista di levatura davvero unica. Al pubblico newyorkese Solal si presenta con un repertorio di ultra-classici che è, da un lato, la chiave di accesso a quel mondo sonoro di cui si è nutrito fino a diventarne parte integrante, dall’altro la pietra focaia per accendere l’immutata fantasia improvvisativi che da decenni gli riconosciamo. Ecco quindi (ma non mancano un paio di originali più pensosi come "Centre de gravité" o “Ramage”) sfilare con briosa eleganza standard come “Lover Man” o “Round Midnight”, temi in cui Solal riesce ogni volta a trovare spunti e sviluppo imprevisti. Pubblico incantato, come è giusto, critica statunitense (riportata nel booklet) ammirata. Per l’ottantenne pianista francese è il dovuto trionfo.
21/12/08Il giornale della MusicaE.B.
Pianissimo
…Le père spirituel de ces jeunes pianistes est Martial Solal, 80 ans aux fraises mais toujours pas rouillé. Il nous avait gratifiés au printemps du superbe “Longitude”, en trio avec les frères Moutin. Et voilà qu’à l’automne est venu “I can’t give you anything but love” (CamJazz) enregistré en solo au Village Vanguard. Plus badin, plus tendre, Solal s’éclate pour l’essentiel sur des standards tels que “Round midnight”, “On green dolphin street” et “Corcovado”. Son très personnel ragtime déstructuré est étourdissant de virtuosité cool et de malice, et le public new-yorkais en reste (presque) sans voix.
04/01/09Le Républicain LorrainRichard Sourgnes
La febbrile immaginazione di Solal
Lezioni di armonia. In uno dei templi del jazz. Dove, fra i tanti, John Coltrane, con il suo quartetto storico, registrò un’importante parte della storia musicale afroamericana degli anni ’60. Siamo al Village Vanguard di New York in compagnia di Martial Solal, uno dei maggiori pianisti viventi (classe 1927, ottant’anni comodamente compiuti all’epoca della registrazione), che chino sulla tastiera macina progressioni su progressioni. Stravolgendo vecchi song, allargando gli intervalli negli accordi rassicuranti degli standard come “On Green Dolphin Street”, “Lover Man”, “Have you met Miss Jones”, “’Round Midnight”. In più momenti (si ascolti “Ramage”) ci si allontana dal jazz tradizionalmente inteso (anche se lo spirito allegro e swingante di Fats walzer sembra non abbandonarlo mai) per approdare in territori che si addicono maggiormente alla musica contemporanea. Non bisogna dimenticare infatti che Solal ha collaborato spesso con Maurius Constant (ex allievo di Messiaen). In sintesi: undici tracce all’interno delle quali possiamo trovare gusto del rischio, ironia, opposizioni timbriche, ritmi complessi ai quali si unisce una frenetica, una febbrile immaginazione costruttiva, una eccitata ed instancabile invenzione narrativa, dove non mancano le luci crude e violente, ed anche un sottile senso di tragicità, che però non ha il tempo di affermarsi, perché è tutto in continuo movimento: un ingorgarsi, un roteare di idee spesso e volentieri anche antitetiche.
09/01/09Corriere della Sera di BolognaHelmut Failoni
Esibizione live per Martial Solal – Grande concerto al Village Vanguard
"Questa è una serata importante perché stiamo registrando e quindi devo fare le cose per bene. E anche voi dovete comportarvi bene perché sarete sul nastro". E Martial Solal in uno dei locali più famosi del mondo, il 12 ottobre 2007 ha fatto le cose davvero per bene. Era la prima volta che un concerto di piano solo, veniva registrato al Village Vanguard e migliore inizio non si poteva cercare, a partire da storici standard quali (On green Dolphin Street, Lover Man, I can’t give Anything but love, Round Midnight, Have you met miss Jones, The last time I saw Paris, Corcovado) per giungere a brani composti da lui (Centre de Gravité, Ramage). Grandissimo improvvisatore e compositore, insignito in Danimarca nel 1999 del Jazzpar, come un premio Nobel per il jazz, e con un concorso pianistico internazionale intitolato a suo nome, Martial Solal in questo disco, quarto per la CAM JAZZ dopo “Rue de Seine”, “Solitude” e “Longitude”, non fa eccezione, ricchissimo e a tratti esplosivo non c’è un brano che non tolga il fiato, tecnica mostruosa e totale imprevedibilità delle melodie, una continua sorpresa nota dopo nota, da solo “I can’t give anything but love” vale l’acquisto del disco.
15/01/09tgcom.mediaset.iteditorial
Live at the Village Vanguard Martial Solal
Martial Solal, si sa, è uno dei grandi geni jazzistici che l'Europa intera può vantare. Lontano, come giustamente qualcuno ha fatto notare, dal vasto pubblico, certo per la mancanza di qualsiasi mezzuccio tecnico/esibizionista, Solal si inserisce direttamente nel pianismo jazz, senza risentire (cosa che oggi - e, si badi, non è certo una critica! - va per la maggiore) di influssi eccessivi da parte della musica "colta" europea, o di un'educazione musicale accademica. Solal è cresciuto a pane, Art Tatum e Bud Powell, e si sente benissimo; ma la sua grande sapienza musicale sta nell'essersene poi staccato, intraprendendo anche strade (almeno per quanto riguarda in particolare questo disco) che spesso strizzano l'occhio a una certa libertà formale, ma non aggiunta per "sovraimpressione" a un'originaria matrice bop, ma che invece proprio da questa prende linfa vitale, riassumendo in una volata della mano destra pagine intere di storia del jazz. Tutto questo, naturalmente, lontano da qualsiasi intellettualismo o manierismo di sorta, e anzi attingendo proprio a quella vena jazz pura che (si potrebbe criticare) manca in tanti pianisti moderni, brillanti e incredibili ma sempre più contaminati, com'è d'obbligo (nonché giustissimo!) che sia. Ecco, Solal in questo disco è tutto quello che abbiamo detto: un grande musicista che ha saputo sublimare la storia del suo genere mantenendolo non puro nella sua chiusura, ma tanto aperto da bastare a se stesso. Naturalmente, i cinquanta minuti di musica che ne scorgano si divorano come fossero cinque, e non fatichiamo a credere al privilegio che lo storico Village Vanguard ha voluto accordargli, di essere il secondo pianista in assoluto ad avere una settimana di concerti al piano solo.
06/03/09www.jazzconvention.netDiego D’Angelo
Live at the Village Vanguard: I Can't Give You Anything But Love - Martial Solal
Martial Solal is a nuclear physicist of the piano. He tinkers with the subatomic structure of compositions, moving elements around, pulling them apart, and smashing them together in ways that both surprise and delight. Solal was born Algiers in 1927, settling in Paris in 1950 where he worked with Django Reinhardt and American expatriates Sidney Bechet and Don Byas. He has maintained an impressive creative profile for the past 50 years that involves solo, small group, and big band formats. Solal has also been a successful movie soundtrack composer, producing music for Les Acteurs (2000) and Ballade a blanc (1983).
Now in his 80s, his performances take on the aire of a grand event. As such, it is fitting that his October 12, 2007 solo appearance at New York City's Village Vanguard was captured and released as Live at the Village Vanguard: I Can't Give You Anything But Love. His previous live recording at the Vanguard, NY1: Live at the Village Vanguard (Blue Note, 2003) was met with much adulation as was the show that generated it in the wake of September 11, 2001.
Relaxed and amiable, Solal banters with the crowd in his French-accented English, explaining that they both must be good as he is making a live recording. He then proceeds to stroll through a recital of seven standards are two original compositions in what can only be described as in a very post-modern, deconstructionist manner. His command of the material is paradoxically dense and atomized with playing that betrays a knowledge of all styles of jazz piano, which he picks and chooses to employ at his creative whim. That "whim" is very informed. "On Green Dolphin Street?" he turns the familiar melody inside out, re- harmonizing and redefining the piece well beyond its early 20th Century origins.
Solal transforms the interrogative "Lover Man" into a declarative statement of fact and strains the brains of Thelonious Monk's "'Round Midnight" through modernity's defining sieve, exposing all of the soft underparts Monk didn't. Solal extends the language of Monk further than any other pianist. His two original compositions, "Centre De Gravite" and "Ramage" are no less compelling, acting as an extension of Solal's artistic command. Live at the Village Vanguard: I Can't Give You Anything But Love is as perfect a jazz recording as we could hope for. Few giants remain, so let us honor Martial Solal.
04/03/09allaboutjazz.comC. Michael Bailey
MARTIAL SOLAL Live At The Village Vanguard
Solal non è certo un pianista di casa a New York, eppure eccolo qui, dal vivo al Village Vanguard, che in occasione dei suoi ottant’anni gli ha concesso un’intera settimana di esibizioni in solo (cosa singolare, in un locale che pare non poter fare a meno delle sezioni ritmiche).
I temi, tutti più che celebri (solo due portano la firma del pianista), sono sempre riconoscibili, anche all’interno dei percorsi improvvisativi, senza venire però mai citati nella loro forma originale: la tradizione è data per scontata; il gusto per la bella melodia è visto come un cascame poco intellettuale. I tempi, ricchi di inciampi e prospettive sghembe, non confluiscono mai nello swing: il rapporto con la lezione afroamericana passa semmai per certe “intemperanze” monkiane. L’aspetto formale dei temi si modifica strada facendo durante la loro enunciazione, gli accordi proliferano ad libitum laddove potrebbe stare una semplice risoluzione delle tensioni: sarà anche ottantenne ma nell’immaginazione musicale di Solal ci sono l’avanguardismo e lo spirito di gioventù dei Six parigini.
09/03/09Musica JazzDaniele Cecchini
Martial Solal Live At The Village Vanguard
Die New York Times feierte ausgerechnet ihn, den Europäer, nach jenem 12. Oktober 2007 überschwänglich und nannte das Konzert im Village Vanguard „one of the jazz events of the year“. Ein Sakrileg im Allerheiligsten des Jazz! Aber der einst glühende amerikanische Kultur-Patriotismus hat sich vor dem Hintergrund einer massiven Identitätskrise der eigenen Improvisatoren zum durchschaubaren Besitzstandswahrungs-Reflex entwickelt. Kluge Köpfe wissen längst, dass die Sache globale Ausmaße annimmt. Und bei dieser Betrachtungsweise kommt einfach niemand an Martial Solal vorbei, selbst wenn dieser schon die 81 überschritten hat. Sein nunmehr auf CD veröffentlichter Soloabend im Vanguard weist einmal mehr auf Solals technische Meisterschaft, die innere Balance zwischen wuchtigen Akkordgewittern und akrobatischen Läufen, das geniale Abstraktionsvermögen – und die im Vergleich dazu auch ein wenig limitierten Möglichkeiten des Gros der US-Tastengilde. Solals Spiel wirkt wie ein fesselndes Hörbuch, das der Rezitator mit Esprit, Humor, im getragenen Moll, voller sprachlicher Wendungen und Finessen, mal laut, mal gedämpft, mal leise vorträgt. Nur eine Frage muss auch bei Seiner Majestät, dem Pianokönig, erlaubt sein: Braucht es wirklich so viele Worte respektive Noten? Man könnte es ihm ja fast als Geschwätzigkeit auslegen.
01/03/09Jazz thingReinhard Köchl
MARTIAL SOLAL Live at the Village Vanguard – three stars
Solal’s week-long 2007 solo piano stint in New York showed that, at 80, his wit, brilliance, almost boundless resourcefulness and technical command were stunning. Art Tatum is one reference point, even to the occasional touches of modified stride, though Solal makes grater use of rubato and seems to find an opportunity for a musical joke hard to resist. And there’s the rub. The material, mostly standards with a couple of originals, is frequently mocked, albeit in the most sophisticated manner. It exists only an arena for the play of fantasy and is made to don a myriad of harmonic and rhythmic clothes, with splashes of wry humour. For all the creativity lavished on “Lover Man” or “I Can’t Give You Anything But Love” (even “’Round Midnight” is put through the harmonic/rhythmic wringer in this way), you get a sense that, behind the dazzle, it’s just a game.
20/02/09The Irish TimesRay Comiskey
MARTIAL SOLAL - “Live At The Village Vanguard”
Ce jubilée “Martial Solal” ne cesse, définitivement d’être “jubilatoire” si l’on en juge par la succession d’album que nous livre récemment le maître. On sait tout le chemin qu’il lui a fallu parcourir pour arriver à trouver son public. A moins que ce ne soit le contraire et que le public ayant évolué musicalement soit aujourd’hui plus à même d’en découvrir ses joyaux.
Mais il faut bien reconnaître qu’à 80 ans Martial Solal est plus libéré que jamais, voire carrément irrévérencieux, mutin, insaisissable dans les codes de la musique bien “pensée”. Un peu comme s’il était libéré de tout enjeu, Martial Solal s’affiche avec une liberté rarissime. Après une première expérience au Vanguard au timing plus que malheureux (programmé pour la première fois le 12 septembre 2001 dans un New York aux cendres encore fumantes), Solal revenait quelques années plus tard dans ce temple du jazz donner, chose rare en ce lieu mythique, une série de concerts en solo. Avant lui seul …….. avait investi ces lieux avec son seul clavier au bout des doigts. Et pour l’occasion, Martial Solal se livrait à une lecture époustouflante des grands standards. On aurait tort de dire qu’il convoquait pour l’occasion Art Tatum beaucoup, Bud Powell un peu, Hank Jones par moment et même du Fats Waller dans l’esprit. On aurait bien tort de dire cela, car Solal en l’occurrence jouait, comme Solal. Insaisissable fanfaron du clavier, indomptable, revêche à la forme traditionnelle des standards, Solal crée sur le moment, invente les phrases, prend des détours inattendus, fait l’école buissonnière et vagabonde toujours à portée de nous mais parfois loin dans ses chemins de feux follets. Solal connaît ces chansons par cœur mais en fait des œuvres d’une personnalité rare, se les approprie avec une grande dose d’humour et de facétie. A entendre ce qu’il fait sur Round Midnight on ne peut qu’être émerveillé par tant de science pianistique qui semble s’écouler du bout de ses doigts comme le prolongement naturel d’une pensée mutine.
Du grand, du très grand piano jazz. On a juste peur en entendant Solal que cette façon de jouer ne se perde à jamais. On se retournera peut être plus tard vers un Stefano Bollani ou une Manuel Rocheman qui semblent à eux deux porteur d’une tradition que leur lèguera un jour le maître. Mais avant cela Martial Solal fera encore longtemps la synthèse : celle d’un siècle de jazz entre les doigts d’un tout jeune génie de 80 ans.
24/03/09les Dernières Nouvelles du JazzJean-Marc Gelin
Album Review: Martial Solal's Live at the Village Vanguard
Recorded live in October of 2007, pianist Martial Solal’s Live at the Village Vanguard: I Can’t Give You Anything But Love (CAM Jazz) captures a deftly simple and thoroughly enjoyable performance. During only the third show the French pianist has given in the United States since his first at the 1963 Newport Jazz Festival, Solal spins stories, moods, and characters with nothing but his two hands and the piano.
Solal got his start playing for American expatriates Don Byas and Sidney Bechet in French jazz clubs in the 1950s. He also contributed to the French New Wave cinema, composing scores for films such as Jean-Luc Godard’s Breathless (Á Bout de Souffle). In the early 1960s he attracted the attention of jazz impresario George Wein2, who introduced to Solal to audiences in the U.S. and Canada.
On Live at the Village Vanguard, Solal lives up to his reputation as international jazz star, combining his jazz fluency with the ability to conjure characters and atmospheres in a way similar to a film score. On the album, Solal plays mostly standard tunes, songs that jazz students practice to learn the language of improvisation. But in Solal’s hands, the tunes become conversational, humorous, and anthropomorphic.
Without the constraint of a rhythm section, Solal’s renderings are free to switch capriciously between rhythmic styles, and they sometimes abandon rhythm altogether to engage in gestural evocations. Even for listeners not accustomed to jazz, the virtuosic playing is accessible and exciting because of its narrative quality. Each dissonance and each arrhythmic passage unfolds easily, growing naturally out of the phrase preceding it.
The clearest example of this approach is the last track, Antonio Carlos Jobim’s “Corcovado.” The introduction is a flittering line, soon joined by a slightly ominous counterpart in Solal’s left hand. The two melodic strands join for a schizophrenic statement of the famous melody, periodically breaking into a gesture, or into a brief ragtime feel. Solal dives into the lowest register of the piano for a menacing passage, followed by a sprightly quip in the instrument’s upper reaches. The competing moods battle it out until the delightfully unexpected ending.
Live at the Village Vanguard: I Can’t Give You Anything But Love is a pleasure for music fans of any ilk. It is also a lesson from a master to a new generation of jazz musicians. In the search for the hippest style, or the most striking combination of genres, Solal’s performance is a reminder that audiences respond best to a story.
21/03/09About.com Jazz GuideJacob Teichroew
MARTIAL SOLAL Live at the Village Vanguard
Martial Solal’s first recording session, on April 8, 1953, was the last for legendary Romany guitarist Django Reinhardt, who would die of a brain hemorrhage about a month later. I wouldn’t call it a passing of a torch—Solal and Reinhardt were worlds apart stylistically, and the 25-year-old Algerian pianist was hardly catapulted to stardom by the association—but it was certainly an auspicious debut for Solal, who’d moved to Paris in 1950.
Solal, now 81, is still playing and recording, but what’s even more impressive than his longevity is his undiminished creative drive. When he recorded the solo set documented on Live at the Village Vanguard, he’d just turned 80, but his dynamic performances are packed with fleet-footed excursions—his mind is clearly still sharp and lucid, and his fingers are still nimble. For years Solal has been compared to Art Tatum, and he shares some of Tatum’s uncanny ability to spin florid, detailed right-hand asides. Solal never simply discards the essential kernel of a tune—this set includes “On Green Dolphin Street” and “’Round Midnight”—but he frequently renders it almost unrecognizable. He’s quick-thinking and spontaneous, able to follow his own impulses—a quote from a familiar bebop number, a brief but intriguing tangle of notes like the one that opens “Lover Man”—wherever they lead, while maintaining a logical through line.
Solal commands the full bebop vocabulary, and despite his clear indebtedness to Tatum he’s fond of sweeping into dissonance in a way his predecessor rarely if ever did. His displays of imagination are so unflagging they can get exhausting—he rarely gives you the chance to catch your breath during his improvisations—but he usually provides enough variety in density, rhythm, and attack that they’re exhilarating instead.
09/04/09Chicago ReaderPeter Margasak
MARTIAL SOLAL Live at the Village Vanguard
Ha tenido que esperar 81 años para grabar un disco en la “catedral del jazz”, el Village Vanguard, en Nueva York. Para un músico europeo, como poner una pica en Flandes. Para el público norteamericano, la posibilidad de descubrir a un intérprete superlativo. Los murmullos de asombro son claramente perceptibles según el pianista franco-argelino ataca un repertorio hecho a su medida en el que los estándares son mayoría –de “Lover man” a “Round midnight”-, Solal les da la vuelta y los conduce hacia territories insospechados. Con Martial Solal al piano, cualquier cosa es posible.
28/03/09El Pais / BABELIAChema G. Martínez
Martial Solal Live at the Village Vanguard
L’etichetta italiana Cam, già meritevole per altre prestigiose incisioni con grandi rappresentanti del jazz, si pregia in questa occasione di pubblicare la registrazione del concerto tenuto dal grande Martial Solal al Village Vanguard in occasione del suo ottantesimo compleanno. Appuntamento che ha segnato anche la prima incisione di un lavoro in piano solo sul palco del famoso jazz club. Inutile soffermarsi troppo sull’importanza del musicista francese ed algerino di nascita, uno dei più rilevanti rappresentanti della tradizione europea, in possesso di uno stile personalissimo ed allo stesso tempo riecheggiante certe fondamentali coordinate del pianismo jazz d’oltreoceano. Nelle mani sapienti di Martial Solal nulla appare scontato e risultano perciò a maggior ragione godibili e suscettibili di sorprendenti riscoperte anche brani già ampiamente esplorati e sviscerati da tanti altri artisti. Ecco che nella scaletta di questo concerto, introdotto da un semiserio invito del pianista ad una particolare concentrazione per sé e per il pubblico (accolto dall’uditorio con rilassata simpatia), trovano spazi classici come “On Green Dolphin Street”, “Lover Man”, “Round Midnight” e la brasiliana “Corcovado” e tutti si rivelano indovinati ed originali, eseguiti in forme sicuramente nuove per lo stesso Solal; che tratta con particolare singolarità il grande cavallo di battaglia di Monk, regalandone una versione particolarmente ispirata. Tutto il lavoro è permeato di classe, con momenti più brillanti ed altri più compassati ed introspettivi, e non manca mai (fino alle note conclusive di “Corcovado”) di quella eccelsa qualità che ha sempre contraddistinto la musica del maestro francese.

Commento tecnico:
qualità musicale: 8
qualità tecnica: 8
20/04/09SuonoSergio Spada
MARTIAL SOLAL Live At The Village Vanguard – six stars
“I can’t Give You Anything But Love: Live at the Village Vanguard”, de Martial Solal, gravado a solo em 2007, junta: 1) um pianista de 80 anos, que tocou com Sidney Bechet e Django Reinhardt, 2) um club eque de vanguardia já só guarda o nome e apenas acolhe jazz ortodoxo, e 3) um repertório constituído maioritariamente por standards. Quem aguarde uma sessão de jazz de museu terá uma apoplexia: os standards estão ali para serem torcidos, retalhados e virados pelo avesso, por um pianista com o desprezo pelas convenções de Thelonious Monk, a técnica e a velocidade de Art Tatum e um sentido de humor muito peculiar. Se fosse preciso explicar a um marciano ou a um discípulo de Wynton Marsalis o que é o relâmpago divino da improvisação, o inebriante sabor da libertade e o genuíno espírito do jazz, bastaria dar a ouvrir este CD.
08/04/09TimeOuteditorial
LIVE AT THE VILLAGE VANGUARD – five stars
O primeiro grande mestre do piano jazz europeu. Uma hora com um genial instrumentista no templo do jazz de Nova Iorque, o Village Vanguard. Martial Solal em solo absoluto, talvez o meio em que melhor se manifesta a sua arte. Solal, nascido em 1927, foi ao longo de várias décadas consolidando o seu estilo, que sintetiza todo o piano jazz: Tatum, Garner, Ellington, Powell, etc. Brilhante tecnicista (em recente entrevista disse que nunca falha diariamente mais de três horas de prática), Martial Solal atingiu um estatuto de franca mestria, para o que também muito terá contado a associaçáo aos grandes músicos de jazz que desde a década, de 60 viveram em Paris. O fundamental em Solal é a sua aptidão para estruturar os solos, investigando as sequências de improvisaçáo de forma a manter sempre um fluxo de ideias melódicas cheias de surpreendentes variações, que traduzem o seu sentido de humor. Martial Solal nunca deixou a sua arte estagnar. Há sempre algo de novo nas suas linhas e, talvez por isso, como Jarrett, mas sem nada ter a está no apougeu de sua arte ver com o estilo deste, gosta de viajar pelos standards, blues ou velhaas canções. Muitos acusam o seu pianismo de ser excessivamente racional, mas Solal é incapaz de fazer música de piano muito interiorizada, como está na moda. Esta formidável hora passada no Village Vanguard mostra-nos a modéstia deste velho pianista. Apenas dois intrigantes originales (ele, que tanto podia fazer, autor de brilhantes bandas sonoras e orquestrações); tudo o resto são standards, começam em ‘On Green Dolphin Street’ e acabam em ‘Corcovado’. Entre eles, revela o que é o solo de piano do jazz, sobretudo com a sua aptidão para embelezar cada linha ou rearmonizar a Lemática com inesperadas extensões e substições de acordes. Um mestre na tradição de Art Tatum e, atrevo-me a afirmar, mais caloroso do que nas sua prestações em trio.
20/04/09mbarimusica.blogspot.comRaul Vaz Bernardo
Solo Septuagenarian/Octogenerian Piano: Abdullah Ibrahim, Ran Blake, Paul Bley & Martial Solal
Martial Solal has been active as a professional jazz pianist for over six decades and this live set, recorded at the Village Vanguard not long after his 80th birthday, finds him at the top of his game. Starting with "On Green Dolphin Street," Solal shows a great deal of playfulness with an obtuse introduction, sudden key changes and amusing interpolations of other songs. "Lover Man" is also dramatically altered from a lyrical ballad into an imaginative romp with a bit of wild dissonance for added seasoning. "'Round Midnight" benefits from the master's touch, incorporating rapid-fire runs and unexpected chords, removing the expected eerie sounds while adding some hilarious Stravinsky-like passages. He takes the old chestnut "I Can't Give You Anything But Love" from its normally light-hearted swing setting into a distinctly modern setting that fans of Art Tatum will appreciate. The pianist's two originals, the dark "Centre de Gravité" and volcanic, semi-classical "Ramage," also prove to be captivating.
06/06/09AllAboutJazz.comKen Dryden
Rifftides - Recent Listening: Martial Solal
“Martial Solal Live at the Village Vanguard” (CamJazz). The CD's subtitle is “I Can't Give You Anything but Love”. In this recital, the French pianist gives his listeners more than love. We get architectural thinking, drollery, daring, virtuosity that includes astonishing mastery of meter, and chord voicings that illuminate like fireworks. Solal was 80 when this was recorded in 2007. His command of the instrument and his intellectual resources were in full operation. He interprets seven standards with insights into the natures of the songs, deep harmonic substance and inflections of his endearing wit. Among other delights, following his deep ruminations during "'Round Midnight" he makes pointed allusions to other Thelonious Monk compositions; integrates crippled cadences into "On Green Dolphin Street;" plays abstractions of the melody, astringent parallel harmonies and stride flurries in "Corcovado." Solal has always managed to integrate profundity and entertainment without sacrificing anything of either. Two of his own compositions, "Ramage" (French for "flower patterns") and "Centre de Gravité," have characteristics suggested by their titles and give the impression of pure improvisation, whether or not they are.
Because of his command of the piano, Solal is often compared with Art Tatum. Fair enough; what jazz pianist of his generation with the technical ability to emulate Tatum was not under the influence of that master? Bud Powell is less often mentioned as a component of Solal's musical makeup, but on this night at the Vanguard, Powell was a beatific presence peering out of Solal's solos. A listener might also hear traces of other pianists of several eras and styles; Bill Evans, Teddy Wilson, Al Haig or Solal's young countryman Michel Petrucciani. Still, when this CD ends, Solal has confirmed yet again that he is unclassifiable, a thorough original.
13/07/09artsJournal.blogsDoug Ramsey
Live at the Village Vanguard - Martial Solal
Born in 1927, pianist Martial Solal is one of the titans of European jazz. Still active at age 82, Live at the Village Vanguard, recorded October 2007, proves Solal has “it.”
The program is almost entirely standards, but this set is anything but a cozy stroll down Nostalgia Boulevard.
Possessing astonishing technique, Solal has absorbed and mastered many styles of jazz, from New Orleans (he recorded with Sidney Bechet) to bebop to free, and he brings aspects of all as he radically interprets—no, re-imagines and re-designs—classic tunes. The moods range from ruminative to whimsical, driving to abstract, sometimes within the same piece. Not for novices, but serious fans of jazz 88s will be launched into orbit with this.
26/08/09Keresman on discMark Keresman
MARTIAL SOLAL Live at the Village Vanguard
Martial Solal, más que Tete Montoliu, representó durante muchos años la figura del pianista europeo. La razón es que Tete era un pianista “americano”, o como a él le gustaba decir a menudo, “negro”, mientras que el francés, sin despreciar la tradición jazzística, tiene a Europa muy presente tanto en su técnica como en su lenguaje. En cualquier caso, Solal es un pianista de jazz como la copa de un pino. Por su desbordante técnica y su facilidad para hacer lo difícil a veces resulta ligeramente cargante y a uno le gustaría que de vez en cuando ensuciara algo su impecable pianismo. Todo ello dicho en líneas generales y pido perdón por la disgresión. Aquí Solal -quizás es el lugar, el Village Vanguard es mucho Vanguard-, es más que nunca un músico de jazz. En solitario (un pianista cuando lo es de verdad, mejor solo que acompañado), exhibe una brillantez y un "savoir faire" que sólo es posible con su calidad y experiencia. Con probabilidad, el disco definitivo de Solal.
15/06/09www.cuadernosdejazz.comVicente Ménsua
Martial Solal Live at the Village Vanguard
As a teasing opener to this stellar live album, seasoned piano dynamo Martial Solal informs the Village Vanguard crowd, “It’s an important night, because we are recording the show… so I have to be good”. Of course, Solal seems incapable of being anything less than “good”. In fact, he routinely operates in the vicinity of “great”, and such was the case on October 12, 2007 during a weeklong solo gig in the New York City basement jazz temple.
Now 82, the Algerian-born French jazz star remains one of the truest and most poetic virtuosos on the piano-jazz scene. His thrilling, imaginative virtuosity puts him in the company of Art Tatum, Oscar Peterson and Keith Jarrett. Like those pianists, Solal can be counted on to deliver high-powered musicality and restless technical mastery. Do not file this album under easy-listening.
However, Solal displays the most structural and harmonic control on his own two original compositions. “Centre de Gravité” pits querulous right-hand wanderings against the low gravitational pull of a slow-walking bass line. The results bear a harmonic resemblance to the palette of the late French composer Olivier Messiaen. Next Solal swerves into the general realm of Monk on a tune he calls “Ramage”.
For the most part, Solal applies his gently deconstructionist approach and his nimble brain and fingers to standards. But Solal’s approach is not a cool-handed, easy-swinging stroll through. The Real Book. The Jimmy McHugh-Dorothy Fields title track, “I Can’t Give You Anything but Love” like other evergreens included here, morphs into something rich and wild. On “’Round Midnight”, the pianist’s antic inventions run counter to the late-night languidness with which Monk’s masterpiece is often interpreted.
Solal’s playful, maze-like intellectuality more readily suits “Have You Met Miss Jones”, with its “Giant Steps”-related bridge, while his read of “On Green Dolphin Street” lays itself out like a miniature Cubist encyclopedia of jazz. Solal brings a slightly more introspective air to “Corcovado”, the set’s closer. Yet imagination and taste for adventure prevail, as he swaddles Jobim’s melody in clustered chords and sudden shifts of tonality and idiom. For Solal, everything is subject to change, on a semi-moment’s notice. Brainy grace and gymnastic thinking are his gifts, and rare ones of that.
23/09/09Jazziz Digital EditionJosef Woodard
Jazz à Vienne 29ème edition – Martial Solal Live at The Village Vanguard
Ils se comptent sur les doigts d’une main les pianistes qui ont eu le privilège de jouer une semaine en solo au légendaire Village Vanguard de New York… Et Martial Solal fait partie de cette caste prestigieuse, ce qui n’est que justice. L’entendre récréer “Round Midnight” et “On Green Dolphin Street”, c’est entre dans l’historie du jazz par la grande porte. Un must d’improvisation.
10/06/09Jazz magazineeditorial
Martial Solal Live at The Village Vanguard
Le premier solo de piano enregistré au Vanguard, ce sera donc lui. Par bien des aspects, Martial Solal n’y offre qu’une trace supplémentaire de son art, ce qui est certes précieux. Les standards sont encore méthodiquement déconstruits à partir de la seule trame qui vaille (leur mélodie), rien d’autre n’étant tenu pour acquis (“On Green Dolphin Street”, “Corcovado”) ; les citations, faux-départs ou vraies modulations abondent en tous sens, y compris les sens interdits (“Maman, les p’tits bateaux”, ils connaissent, là-bas ?). Une radiographie permanente qui est aussi celle de l’instrument. On se dit que, décidément, Solal n’aurait pu être autre chose que pianiste, obligé de changer sans cesse d’instrument : avec sa décontraction et sa distance, on le croirait parfois simplement venu là pour essayer ou accorder le piano, le faisant sonner à tous ses registres, testant la résonance de différents intervalles ou l’enfoncement de certaines touches (dans “Lover Man”, la deuxième minute travaille ainsi longuement sur une ou deux notes).
Radiographie de lui-même enfin, qui passe par de nombreuses phases où le jeu se cherche, s’interroge ou s’observe de façon obsessionnelle ou plus recueillie. (“Ramage”). Aux quelques longueurs rencontrées dans les premières plages, on préfèrera la concision atteinte ensuite (“Have You Met Miss Jones ?”).
10/12/08Jazz magazineVincent Cotro
Martial Solal Live at The Village Vanguard – choc jazzman de l’année 2008
Un martien… Cadeau de Solal aux new-yorkais, la connaissance intime, quasi radiographique, des standards et en même temps une insolente liberté à les déshabiller, leur faire les yeux doux et les emmener sur une planète de liberté totale. Il y a tant de musique, par brassées, dans chaque phrase, que l’on en oublie le piano lui-même. Paradoxal ? Non : magistral.
10/12/08JazzmanAlex Dutilh
Solal, l’art du jazzman
Il n’y a pas d’âge pour être espiègle et Martial Solal en est la preuve vivante. Il suffit pour s’en convaincre d’écouter le traitement que le pianiste, ici en solo, administre dès l’introduction à un charmant standard comme “Have you met Miss Jones?” Tout est là de l’art du jazzman : technique ébouriffante et virages sur l’aile pour prendre toujours l’auditeur par surprise. Comme dans une partie d’échecs face à un maître, on est sans cesse ébahi par les savantes combinaisons du pianiste. Il est donc conseillé d’avoir les neurones aux aguets pour apprécier toutes les subtilités de ce concert enregistré dans un mythique club new-yorkais.
10/01/09la CroixYann Mens
Martial Solal Live at the Village Vanguard
Le vieux maître du piano jazz Martial Solal n’a toujours pas pris sa retraite. Et prolonger son plaisir est aussi ajouter du sel au notre, comme en témoigne ce témoignage “live” du Français dans la cave du Village Vanguard, pour un concert présenté de manière espiègle (comme toujours) par une sorte de monstre sacré tranquille du jazz. L’un des derniers du piano et tout cas. Récital impeccable, calibré et parfois bien barré, car Solal est bien sûr tout sauf un pianiste de jazz…
10/01/09START UPH.G.
La solitude du jazzman
…Quant à Martial Solal, pour son “Live at The Village Vanguard” (CamJazz/Harmonia Mundi), enregistré dans le célèbre club new-yorkais en octobre 2007, il se “contente” de se concentrer et de revisiter, à sa manière intelligente et souvent imprévisible, des standards du jazz et de réinventer ses propres compositions, d’une rare richesse harmonique.
19/01/09Le Quotidien du MedecinDidier Pennequin
Martial Solal – Exquises esquisses
Débouler dans le mythique Village Vanguard avec, pour débuter le set, “On a green Dolphin street”, porté en ces lieux jusqu’à l’incandescence par Bill Evans, c’est gonflé. Mais à 80 piges (eh oui!) Martial Solal peut tout se permettre. Y compris, depuis quelques temps, mettre sa légendaire virtuosité pianistique au service d’une nouvelle manière d’aborder le répertoire des standards. Ce qui fascine ici, c’est la déstructuration des thèmes, via l’ébauche, la réminiscence. On a connu Solal impressionnant impressionniste. Il devient ici comme un Kandinsky des touches. Ce ne sont plus de relectures mais des motifs adjacents, des échos de “Lover man”, le tempo de “Round Midnight”. Ce n’est pas de la désinvolture, mais du grand art. Et le public du Village Vanguard en est conscient. Et tout conquis.
30/11/08La Marseillaiseeditorial
Martial Solal Live at the Village Vanguard
Jazz 80 ans, le pianiste français retrace sa vie en public et en solo.
Octobre 2007 : Martial Solal s’installe au célèbre Village Vanguard de New York pour une semaine, et si nombre d’enregistrements live ont eu lieu dans ce club, c’est la première fois qu’un artiste y grave un album en solo. Martial Solal vient alors de fêter ses 80 ans, et ce disque, qui paraît cet automne, ressemble à une célébration. On sent en effet dans ces soirées américaines qu’une vie de musicien défile sous les doigts du pianiste. Les sentiments, légers, fulgurants, tendres, très souvent gourmands, se bousculent dans des traits successifs, sans l’obsession de la forme. Celle-ci naît au fil des notes, des ellipses, des digressions distillées par brassées. Le standards – “On Green Dolphin Street”, “Lover Man”, “Round Midnight” – sont emportés par une éloquence juvénile et sage à la fois. Outre les prouesses techniques, l’articulation limpide des idées, leur enchaînement à une vitesse sidérante, il faut avoir énormément appris pour jouer ainsi et rendre aux autres aussi généreusement et simplement.
15/12/08VolumeRomain Grosman
Martial Solal Live at the Village Vanguard
Martial Solal a enregistré aux USA: au festival de Newport en 1963 avec la rythmique de Bill Evans, en 1988 au Town Hall en solo et avec JF Jenny Clark et Daniel Humair, et déjà 2001 au Village Vanguard avec François Moutin et le grand Bill Stewart. On parle aussi quelquefois d’une séance pour Milestone en 1974 apparemment jamais publiée. Mais voici la première fois qu’une prestation entière en solo, dont il est coutumier, est captée dans un haut lieu du jazz américain : le Village Vanguard.
Pour ce rendez-vous exceptionnel avec le public et le médias new yorkais Martial Solal a choisi une série de standards bien connus des Américains (“On Green Dolphin Street”, “Lover Man”, “I Can’t give You Anything But Love”, “Round Midnight”, “Have You Met Miss Jones”, “The Last Time I Saw Paris” et “Corcovado”), ne livrant que deux compositions personnelles : “Centre de gravité” et “Ramage”. L’harmonisation savante, raffinée, parfois étonnante, les sauts de registre, de climat, les fameuses brisures rythmiques, la vélocité magistrale et surtout l’invention mélodique constante y font merveille. Il faut certes bien connaître le matériau de départ pour apprécier à sa juste mesure le traitement souvent primesautier et plein d’humour, forme rare du sérieux musical, que Martial Solal met en œuvre. Mais l’évidence est là : Monsieur Solal a un style personnel qui en outre n’est pas à la portée du premier venu s’asseyant devant un piano. C’est un maître.
10/12/08Classicaeditorial