Terry Kattleman

Jazz Criticism Reconsidered

Alexandra Grimal(leable)
CDs & performances
by French saxophonist Alexandra Grimal

The saxophonist ablaze in the small world of jazz hexagonal, depending on the mood of the moment to multiply encounters and experiences, overcame several boxes of belongings that strike first. The continuous movement of fingers like a rosary impressionist gives a sense of sound density close to the languor of the continuous flow. In counterpoint to this essential element of atmosphere, the right hand showed alertness, ginned in a motion very aquatic””notes forming melodic lines that pass through the rock and its simplicity appointment. The envelope thus obtained sounds like troubled waters, a pleasure to dance with unstable equilibrium. Echoes in this way move instantaneously from one genre to another, married in the same spirit on bare skin. Free furious explosions rock near a punk spirit but also a use of silence rather rare; paradoxical density and respiration carried away by the “dirty groove,” listening to focus on the desire to complete the connection. A fuller sound, easily wrapped on the gap between abstract shapes and cues inherited from the saxophone-size battery carrier; the public has remained relatively high until two o’clock in the morning. One thinks Satan impatience, quite percussive, plays heavily on the pace. The sax whines, rubbed on the battery. The music is like a skein that gradually detangles on the field and textures. The ballad that follows is no less innocent””velvety notes held with just enough harshness to the ear hook, never indifferent. A contemporary approach without denying a certain tradition, the group installs climates sometimes nervous, sometimes soft and relaxed, not always obvious but never implied. Flexibility and strong acceleration: attacks are honest, scolding the piano before going to collect notes sharp to soften the edges, like a cat, always listening, ready to bounce on the subject. It provides a scratch, a helping paw and then a caress. Leaves breathe silence, the trend is much more free, recalling power and energy talking, draws on the cards like crazy, explosive and sharp. It is heated to white, breaks the subject, shreds the grid”¦ and ultimately, like the leaves of autumn, flies with melancholy, both sinuous, talkative, and chopped. Weave frame and ground noise, colorful punctuation, banning surcharges and stereotypes, as if bullying was a support or self-censorship. This music, young and demanding, always where things are going, provides openness, freedom of choice, and money. Outside of the legendary wide-brimmed hat not found on the back of pockets, while seaweed is not a strong, persistent groove, a snap decision, flummoxed, is not much. However, it was a surprising bargain. I thought I had a habit for a while and saw the man’s jacket photo, which is like a woman, apparently. I’m in the driver’s name from dollars. A natural sense of swing that seems to hit the self-indulgent, silly fools batter our heavy feeling pretty good. Some parts I’m not sure what I want, frankly, for the remaining colors in the stance of the rationale is much fun playing a strange groove. Differentiation and polarization are the images of recent or ancient generation, and I was doing something a little comforting. But if one accepts the game of experimentation where energy becomes more organic, to explore a middle way between force and subtlety carries nuggets and slag. The development of a direct, exciting collective alchemy””where one hears the sound of fabric original. No need to look hard! Marry her. In what other places can you afford that luxury today?

This text is made from Foreign-language reviews of jazz albums, translated and re-translated among several languages, using online translation software.

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