Moutin Réunion Quartet - Red Moon (2004)

Avant-garde music is not my cup of tea: I usually find it dark and formless, and the more "out" it goes, the faster I turn it off. But when I heard the opening track here, a bass and drum derangement of "La Mer," I was struck by how playful it could be. Same thing for the next and title track, a driving funk/Latin mix, where pianist Baptiste Trotignon and saxophonist Rick Margitza join the party, contributing to the genial celebration. I was surprised that I could not only follow the journey, but enjoy it as well. Either my ears have grown after a decade of reviewing, or these guys have produced something special. Perhaps both. In any case, the leaders are twin brothers, Francois and Louis Moutin, who offer four originals each, as well as two standards arranged by Francois. The "reunion" reflects Francois's return after leaving the first Moutin group in 1996 for the US. The music is bold, with intricate rhythms and intriguing harmonies. Trotignon's piano knits the quartet together with melodic silk, supple and strong. "Apollo 13" conveys the power and mystery of space flight, with Margitza soaring, as he does on "Sailing Through the Clouds." "Taking Flight" makes the most out of a simple riff; "New-York Silly" is full of the Apple's energy, while "Soroya" is a moody ballad. "Stompin' at the Savoy" becomes more like "Slinkin' at the Savoy" in Francois's fresh conception. This is original, exciting, well-crafted music; it will definitely challenge those used to swimming in the mainstream, but the rewards of listening are many. ~ by Dr. Judith Schlesinger, AAJ. 

Nocturne Records, NTCD 337, 2004
Recorded 21st, 22nd & 23rd May, 2003 at Acoustic Recording, Brooklyn, New York 

Musicians:
François Moutin - Double Bass
Louis Moutin - Drums
Rick Margitza - Saxophone
Baptiste Trotignon - Piano 

Tracks:
01. La Mer {Charles Trénet} (3:53)
02. Red Moon {Louis Moutin} (8:18)
03. Apollo 13th {François Moutin} (9:14)
04. Soraya {François Moutin} (5:29)
05. Jazz Married {Louis Moutin} (6:17)
06. Taking Off {François Moutin} (7:20)
07. Sailing Through The Clouds {Louis Moutin} (7:49)
08. New-York Silly {François Moutin} (7:13)
09. Elle Aime {Louis Moutin} (4:45)
10. Stompin' At The Savoy' {Chick Webb} (2:23) 

Total Time: 60:43 

Credits:
Recording & Mixing - Michael Brorby
Mastering - Steve Fallone
Graphic Design - Renaud Barès
Liner Notes - Dan Doyle

Moutin Réunion Quartet - Something Like Now (2005)

Louis and François Moutin are French-born twin brothers who play drums and bass. Since '97, when François relocated from Paris to New York, they've been separated by a few thousand miles, but have managed periodically to get together to tour and record as the Moutin Reunion Quartet. Saxophonist Rick Margitza joined the lineup in '04 for the group's second album, Red Moon, and pianist Pierre de Bethmann comes on board with Something Like Now. Most of the time, the brothers are playing other peoples' music - they're both busy session players and sidemen - and the Reunion Quartet gives them the opportunity to perform their own material. Every track here, aside from the Charlie Parker collage "Bird's Medley," is written, separately, by either Louis or François. The Moutins have remarkably similar composing styles. Because they're twins? Or because they're both rhythm section players? Je ne sais pas, but I suspect a bit of both. The tunes are mostly full-on, fierce, and upbeat, their angular themes built over brooding, ostinato-based extended riffs, light on lyricism and heavy on atmosphere - the exceptions are François' balladic "Surrendering" and "Echoing," and "Bird's Melody," a 3:24 bass and drums dialogue. Think a heavied-up acoustic Weather Report and you're getting close. The standard of musicianship is high, as you'd expect from a band led by two top sessionmen, and although the Moutins take all the writing credits, they don't hog the solo space. Margitza is up front pretty much throughout with his no-frills, full-throttle blend of Coltrane, Shorter, and Brecker. Bethmann is probably the freshest voice at the mic, and he delivers blindingly intense solos on "Echoing," "M.R.C.," and the perversely named "Take It Easy." His occasional use of the Fender Rhodes includes sonically inventive contributions to the title track and "Touch And Go." And the bottom line? This is technically accomplished, high-energy jazz, with a well-defined aesthetic and truckloads of group interplay and muscular soloing. It is, perhaps, a touch muso-ish, and the composition base might benefit from being broadened to include other writers, but it's an often-exhilarating ride. ~ by Chris May, AAJ. 

Nocturne Records, NTCD 375, 2005
Recorded 5th-7th & 8th February, 2005 at the Studio Guimick, Yerres, France 

Musicians:
François Moutin - Acoustic Bass, Arranger (#3)
Louis Moutin - Drums
Rick Margitza - Tenor Saxophone
Pierre de Bethmann - Piano 

Tracks:
01-02. Something Like Now, Part 1+2 {Louis Moutin} (8:38)
03. Bird's Medley {Charlie Parker} (3:22)
04. Take It Easy {Louis Moutin} (7:39)
05. Surrendering {François Moutin} (6:17)
06. M.R.C. {François Moutin} (5:36)
07. Tomcat {Louis Moutin} (7:12)
08. Echoing {François Moutin} (7:49)
09-10. Bottom Line, Part 1+2 {François Moutin} (7:43)
11. Touch And Go {Louis Moutin} (4:32) 

Total Time: 58:48 

Original CD poorly separated #1+2 and #9+10
Tracks now carefully rejoined for improved listening. 

Credits:
Recording & Mixing - Pierre Guinot
Mastering - Bruno
Photos - Ursula K
Graphic Design - Renaud Barès

Moutin Réunion Quartet - Sharp Turns (2007)

As the Moutin Réunion Quartet have evolved over five years, their modern mainstream jazz sound has indeed discovered tighter, sharper edges based on their ability to elongate time signatures, dig deep into their expertise as improvisers, and discover a neo-bop signature sound that is as irresistible as any in contemporary music. Tenor saxophonist Rick Margitza has settled into his role as a post-Michael Brecker melodicist, while pianist Pierre DeBethmann is ever formidable and a perfect foil for bassist François Moutin, especially with his left hand working in tandem with the contrabassists pluckings, bowings, and walking. While François aside from this band is quickly becoming a first-call sideman, his twin brother Louis is developing distinct individualism, displaying one of the more unique approaches and styles in the post-bop/Max Roach school of ferocious drumming. You have to witness Louis live to appreciate his uniqueness, but from an audio perspective alone, his talent borders on astonishing, and he also assumes a fierce leadership role as a composer. There's some outstanding, nearly breathtaking music here -- the hip, heavy and enigmatic "Two Hits on the N.J.T.P." which deserves a close listen, the heady, purely modern neo-bop title track loaded with drum flourishes, and the tension and release of "A Good Move," which is a trademark device of the band. A brittle and staggered kinetic funk informs "Kuki's Dance," there's the nimble indirect swing waltz "A Blue Dream," and a tribute, "Trane's Medley," with just bass and drums. Margitza also evokes John Coltrane during the delicate, pensive, artistic ballad "Time Apart." Well on their way to being one of the top working bands in contemporary jazz, the Moutin's have it all goin' on. Please thoroughly check these cats out if you haven't already. ~ by Michael G. Nastos, AMG. 

Nocturne Records, NTCD 4501, 2007
Recorded 19th-24th March, 2007 at Systems Two Studios, Brooklyn, New York 

Musicians:
François Moutin - Acoustic Bass [Upright], Arranger
Louis Moutin - Drums
Rick Margitza - Tenor Saxophone (#1,2,4-8)
Pierre de Bethmann - Piano (#1,2,4-8), Fender Rhodes (#1,2,4,6), Vocals (#1) 

Tracks:
1. The Speech {François Moutin} (6:40)
2. Kuki's Dance {Louis Moutin} (5:57)
3. Trane's Medley {John Coltrane} (4:27)
4. A Good Move {François Moutin} (9:01)
5. Time Apart {François Moutin} (7:49)
6. Two Hits On The N.J.T.P. {Louis Moutin} (6:39)
7. A Blue Dream {Louis Moutin} (6:43)
8. Sharp Turns {François Moutin} (8:38) 

Total Time: 55:59

Credits:
Recording Engineer - Michael Marciano
Recording & Mixing Engineer [Assistant] - Max Ross
Mixing Engineer - Joe Marciano
Mastering Engineer - Raphaël Jonin
Graphic Design - Renaud Barès
Photography - Ursula K

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.