Manuel Rocheman - Cactus Dance (2007)

Manuel Rocheman has been in this category for a long time. The one where the "L" of freedom becomes capital letter. Having the process of recording a disc with two partners renowned for their immense talents and their deep dedication, "Cactus Dance" has a hell of a program in store for us, long before listening to the first note. The album starts off with a simple joke, "Aulnay Blue". A fast tempo completely masked by the rhythmic construction of the theme. And as if there was not enough camouflage, this first melody is doubled in the bass by the double bass. Child's play. What follows is all the more disturbing. This is the second track, "You must believe in Spring", Which brings us back to earth with the poetry of spring and its promises. As Bill Evans did too little, on this track alone, Manuel switches to Fender Rhodes from bar to bar, with that monstrously awesome and lyrical inner vocals. This instrument gives an intriguing dimension to Manuel's left hand playing. Let's talk about it. This left hand offers us firmly present chords. It is often a choice for pianists to access modernism by safeguarding codes from the past. For this pianist, it is a question of a finely appropriate code, that of systematically placing the chords during a chorus. What helps make this system more current is the personal sensitivity it puts in the choice of notes for these chords. We can only raise the level of maturity reached by Manuel Rocheman. The extraordinary Mexican drummer Antonio Sanchez who accompanies him produced this record without using the Latin colors of his drums. This usual expert in mixed sounds has given up this touch in order to fully immerse himself in the leader's modern jazz universe. The refinement is at its maximum when entering the "special drums" at the end of the waltz "Cactus Dance". The gentle frenzy of chopsticks on the skin is developed by an entirely interior energy. Scott Colley is in search of accuracy. Time is an obsession for this 44-year-old double bass player, without taking away the spontaneity of the dialogue with the drummer. They two combine a plot in perpetual motion. Despite some unwelcome "bland", several titles on the disc bring us back to the trio's great classics and the influence they bring to Manuel. A tribute to Keith Jarrett through "So tender", Rocheman style. Let’s not forget "Comrade Conrad" too, a magical piece with an Evansian aesthetic where Manuel, after his solo intro, is joined by the two North American musicians, also giving their majestic tribute to the legendary trio of Scott Lafaro and Paul Motian. To end this ballad of memories, also note this double-homage with "I love you", recorded with 2 different rhythmic points of view. The joke game ends in the good mood of nostalgia. A loving playful nostalgia. ~ Tristan Loriaut, lesdnj.over-blog.com. 

Nocturne Records, NTCD412, 2007
Recorded 21st & 22nd March, 2006 at Systems Two Recording Studios, Brooklyn, NY 

Musicians:
Manuel Rocheman - Piano, Fender Rhodes (#2)
Scott Colley - Bass
Antonio Sanchez - Drums 

Tracks:
01. Aulnay Blue {Manuel Rocheman} (4:16)
02. You Must Believe In Spring {Michel Legrand} (6:13)
03. Batida De Coco {Manuel Rocheman} (6:21)
04. Cactus Dance {Manuel Rocheman} (7:00)
05. So Tender {Keith Jarrett} (6:28)
06. Prato Feito {Toninho Horta} (6:58)
07. Comrade Conrad {Bill Evans} (6:36)
08. I Do It For Your Love {Paul Simon} (4:59)
09. El Mosquito {Manuel Rocheman} (2:51)
10. Waltz For Marianne {Manuel Rocheman} (4:50)
11. I Love You 7/4 Version {Cole Porter} (7:32)
12. I Love You 4/4 Version {Cole Porter} (7:52) 

Total Time: 71:56

Credits:
Producer - Manuel Rocheman
Recording Engineer - Joe Marciano
Assistant Engineer - Max Ross
Mixing Engineer - Charles Caratini
Mastering Engineer - Raphael Jonin
Photography - Guy Vivien, Manuel Rocheman
Artwork - Alexandra de Lapierre 

This album is a Manuel Rocheman piano trio release after a longish spate of time, four years. Essentially, it is an easy-to-listen and responsive work. It encompasses Roschman's own work, and that of Keith Jarrett, Bill Evans, and Cole Porter's works, all of which are very captivating tunes. The first song, which has a strange time signature and a sharp twist, is very aggressive. From there the album progresses in a mixture of dynamism and entrancing trio dialogue. In essence, the participation of Scott Cory and Antonio Sanchez indeed plays an important role in breaking new ground in Roschmann progressive development.