LOUIS SCLAVIS - Characters On A Wall
ECM 778 3223
Louis Sclavis (clarinet, bass clarinet); Benjamin Moussay (piano); Sarah Murcia (double bass); Christophe Lavergne (drums)
Recorded October 2018
For one reason or another the French clarinettist, Louis Sclavis, more often than not appears as intermittent blip on my listening radar. Quite why this should be so I'm not sure, and listening to this exquisite recording whilst hastily back peddling through some of his earlier recordings, this is something that shall be rectified immediately if not sooner.
Having been described as the most interesting bass clarinettist since Eric Dolphy, Sclavis has certainly sought to live up to that bold statement producing a body of work that is as compelling as it is diverse. No successive recordings are ever the same or seem or remotely similar, and in deploying different groups and instrumentation for each there is a sense of surprise with each new recording, almost as if discovering Sclavis for the first time.
It will therefore not come as a shock to find out that Sclavis is once again presenting a new group with a new sound and concept to match. For the first time, the clarinettist has deployed the classic jazz quartet of reeds, piano, bass and drums on an ECM recording, and done so in a way that at time sounds like anything but that well loved line-up. Yes he swings, but in that uniquely European manner that is at pains to also incorporate his own musical heritage along with the more formal lines of the chamber ensemble. In to this mixture he also throws in improvisation allowing the quartet considerable freedom while never losing sight of some quite beautiful melodies.
Returning to the fold after a period of absence is pianist, Benjamin Moussay, last heard with Sclavis on Sources (2011) and Silk And Salt Melodies (2014). Throughout the set his presence is a constant delight and providing the perfect link between bass and the quietly freewheeling drumming of Lavergne and Sclavis' lyrically roving clarinet. Having said this, Moussay anchors things down with a more static groove that permeates throughout 'Shadows And Lines'. A strong bass line from Murcia that whn not being deployed is oft replaced by a more static beat from the drums.
This mix of the formal, fixed metres coupled with an apparent freedom within the structure makes for compelling music. 'La Dame De Martigues' is delightfully restrained, with a lyricism that is deeply touching. Again Moussay proves his worth with his superb introduction, and his touch when accompanying Sclavis' clarinet is very moving. 'Prison' livens things up a little both rhythmically and harmonically and does so while maintainng the concept and integrity of what has gone before, and what is to follow.
Taking again his inspiration from the work of artist, draughtsman and urban arts pioneer, Ernest Pignon-Ernest (Sclavis' Napoli's Walls album drew influence from the artist's collages in Naples), the clarinettist has not only again further reminded of us the strong link forged between music and visual art, but also created some uniquely coloured aural collages of his own. Another fine set to add to his burgeoning discography for ECM, and possibly his strongest yet.
Reviewed by Nick Lea
ECM 778 3223
Louis Sclavis (clarinet, bass clarinet); Benjamin Moussay (piano); Sarah Murcia (double bass); Christophe Lavergne (drums)
Recorded October 2018
For one reason or another the French clarinettist, Louis Sclavis, more often than not appears as intermittent blip on my listening radar. Quite why this should be so I'm not sure, and listening to this exquisite recording whilst hastily back peddling through some of his earlier recordings, this is something that shall be rectified immediately if not sooner.
Having been described as the most interesting bass clarinettist since Eric Dolphy, Sclavis has certainly sought to live up to that bold statement producing a body of work that is as compelling as it is diverse. No successive recordings are ever the same or seem or remotely similar, and in deploying different groups and instrumentation for each there is a sense of surprise with each new recording, almost as if discovering Sclavis for the first time.
It will therefore not come as a shock to find out that Sclavis is once again presenting a new group with a new sound and concept to match. For the first time, the clarinettist has deployed the classic jazz quartet of reeds, piano, bass and drums on an ECM recording, and done so in a way that at time sounds like anything but that well loved line-up. Yes he swings, but in that uniquely European manner that is at pains to also incorporate his own musical heritage along with the more formal lines of the chamber ensemble. In to this mixture he also throws in improvisation allowing the quartet considerable freedom while never losing sight of some quite beautiful melodies.
Returning to the fold after a period of absence is pianist, Benjamin Moussay, last heard with Sclavis on Sources (2011) and Silk And Salt Melodies (2014). Throughout the set his presence is a constant delight and providing the perfect link between bass and the quietly freewheeling drumming of Lavergne and Sclavis' lyrically roving clarinet. Having said this, Moussay anchors things down with a more static groove that permeates throughout 'Shadows And Lines'. A strong bass line from Murcia that whn not being deployed is oft replaced by a more static beat from the drums.
This mix of the formal, fixed metres coupled with an apparent freedom within the structure makes for compelling music. 'La Dame De Martigues' is delightfully restrained, with a lyricism that is deeply touching. Again Moussay proves his worth with his superb introduction, and his touch when accompanying Sclavis' clarinet is very moving. 'Prison' livens things up a little both rhythmically and harmonically and does so while maintainng the concept and integrity of what has gone before, and what is to follow.
Taking again his inspiration from the work of artist, draughtsman and urban arts pioneer, Ernest Pignon-Ernest (Sclavis' Napoli's Walls album drew influence from the artist's collages in Naples), the clarinettist has not only again further reminded of us the strong link forged between music and visual art, but also created some uniquely coloured aural collages of his own. Another fine set to add to his burgeoning discography for ECM, and possibly his strongest yet.
Reviewed by Nick Lea
