TAM DE VILLIER 4TET – Panacea
Whirlwind Recordings Ltd WR4669
Tam De Villier (Guitar), David Prez (Tenor Saxophone), Frederic Chiffoleau (Electric and Double Bass), Karl Jannuska (Drums) and Gabor Winand (Voice on tracks 3, 4, 7 and 10)
The Tam De Villiers 4tet return with their third album, Panacea, featuring ten new tracks, nine of which were composed by the France based guitarist and composer De Villiers, with the tenth being composed by special guest Gabor Winand who is also featured on nvocals on four tracks.
Tam De Villiers is an educated and cultured man. My research revealed that he studied at Leeds College of Music and he’s lived in Paris for several years and perhaps that’s why I struggled to connect on any real level with this record. I am not a man of culture and wisdom, I’ve never had a passport and the closest I’ve gotten to France is eating croissants from the local Asda. It’s safe to say I am not the target audience for this album and for the most part it doesn’t hit the mark for me. I don’t feel I can criticise the quality of the record because what I know about composing music wouldn’t fill the back of a postage stamp and I’m sure to many this album has a lot to offer. If there was such thing as a jazzmonaut I’d be the musical equivalent of Mike Collins stuck watching the jazzy Armstrong and Aldrin bouncing on the moon of enjoyment whilst I sit back and wonder what all the fuss is about. Houston we have a problem.
There is a very obvious thorn in the paw of Panacea and rather than pull it out the quartet leave it in and allow the lion of mediocrity to keep on roaring in complaint, and maybe that’s why Gabor Winand’s unique vocals really grate my cheese. His first two tracks left me angry and confused. I felt like he was reaching out of my speakers and flicking my ears in mockery. I’m sure you’re familiar with the story of the three blind men asked to touch an elephant and describe what they feel. Each one comes up with something completely different to the other two which very much reminds me of the union of vocalist and composer on these first two tracks. Like asking Michelangelo and Banksy to paint your porch the results may be interesting but is it art?
For me this album was a miss step on my continuing journey to appreciate the nuance and essence of jazz. I can appreciate the accomplished musical skills on display here. Tam De Villiers is clearly the star here and his strong guitar work is rousing and inspirational to anyone who ever picked up an instrument. The music is complex and nuanced and I imagined this will appeal to the connoisseur out there who knows good jazz when it floods their aural cavities. However it left me feeling like the obnoxious tourist who is offered filet mignon in the finest restaurant in Paris but demands a burger and chips instead. This album left me conflicted. There are tracks I like, even one featuring the unique vocals of Winand but a lot of the album left me feeling cold. There is almost a fifty split between enjoyment and disappointment. I’m a glass half full kind of guy but sometimes that half glass is filled with despair. For me, personally, this album is a bit of a misfire with mismatched vocals and music. Taste is subjective though and I recommend making your own mind up with this release. I can guarantee one thing you’ll certainly have a strong reaction to it.
Reviewed by Ben Calverley
Whirlwind Recordings Ltd WR4669
Tam De Villier (Guitar), David Prez (Tenor Saxophone), Frederic Chiffoleau (Electric and Double Bass), Karl Jannuska (Drums) and Gabor Winand (Voice on tracks 3, 4, 7 and 10)
The Tam De Villiers 4tet return with their third album, Panacea, featuring ten new tracks, nine of which were composed by the France based guitarist and composer De Villiers, with the tenth being composed by special guest Gabor Winand who is also featured on nvocals on four tracks.
Tam De Villiers is an educated and cultured man. My research revealed that he studied at Leeds College of Music and he’s lived in Paris for several years and perhaps that’s why I struggled to connect on any real level with this record. I am not a man of culture and wisdom, I’ve never had a passport and the closest I’ve gotten to France is eating croissants from the local Asda. It’s safe to say I am not the target audience for this album and for the most part it doesn’t hit the mark for me. I don’t feel I can criticise the quality of the record because what I know about composing music wouldn’t fill the back of a postage stamp and I’m sure to many this album has a lot to offer. If there was such thing as a jazzmonaut I’d be the musical equivalent of Mike Collins stuck watching the jazzy Armstrong and Aldrin bouncing on the moon of enjoyment whilst I sit back and wonder what all the fuss is about. Houston we have a problem.
There is a very obvious thorn in the paw of Panacea and rather than pull it out the quartet leave it in and allow the lion of mediocrity to keep on roaring in complaint, and maybe that’s why Gabor Winand’s unique vocals really grate my cheese. His first two tracks left me angry and confused. I felt like he was reaching out of my speakers and flicking my ears in mockery. I’m sure you’re familiar with the story of the three blind men asked to touch an elephant and describe what they feel. Each one comes up with something completely different to the other two which very much reminds me of the union of vocalist and composer on these first two tracks. Like asking Michelangelo and Banksy to paint your porch the results may be interesting but is it art?
For me this album was a miss step on my continuing journey to appreciate the nuance and essence of jazz. I can appreciate the accomplished musical skills on display here. Tam De Villiers is clearly the star here and his strong guitar work is rousing and inspirational to anyone who ever picked up an instrument. The music is complex and nuanced and I imagined this will appeal to the connoisseur out there who knows good jazz when it floods their aural cavities. However it left me feeling like the obnoxious tourist who is offered filet mignon in the finest restaurant in Paris but demands a burger and chips instead. This album left me conflicted. There are tracks I like, even one featuring the unique vocals of Winand but a lot of the album left me feeling cold. There is almost a fifty split between enjoyment and disappointment. I’m a glass half full kind of guy but sometimes that half glass is filled with despair. For me, personally, this album is a bit of a misfire with mismatched vocals and music. Taste is subjective though and I recommend making your own mind up with this release. I can guarantee one thing you’ll certainly have a strong reaction to it.
Reviewed by Ben Calverley
