Martial Solal

My One And Only Love - European Jazz Legends Vol. 15

Price: € 19.95
Format: CD
Label: Intuition
UPC: 0608917132724
Catnr: INTCHR 71327
Release date: 06 April 2018
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Label
Intuition
UPC
0608917132724
Catalogue number
INTCHR 71327
Release date
06 April 2018

"Listen to him in this recent German solo performance: thirteen pieces in which he lays everything, shows the entire jazz pianistics and also distribute musical quips in between."

Jazzism, 15-6-2018
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About the album

"Martial Solal has, in abundance, those indispensables of the musicians’ craft: sensitivity, creativity, and a prodigious technique. Most of all, he sparkles with refreshment." These words of praise were written by his "soul brother" Duke Ellington for Solal’s US debut album, recorded mostly at Newport in 1963 with Bill Evans’ rhythm section Paul Motian on drums and Teddy Kotick on bass. More than half an exciting century later the legendary French pianist and composer, who excelled with works for soundtracks, orchestras, big bands and his own groups, as well as in the meantime duo settings with jazz masters from Lee Konitz to Dave Liebman, once again proved why the Duke loved him madly.

As soon as Martial Solal sat down at the piano in the Theater Gütersloh for soundcheck, all the months of preparation and practice for this solo-concert, and the strain of the travel here from his home in Chatou near Paris seemed to disappear. "At home I don’t even make music, I just practice scales and things", he said, after explaining why he looks forward to play on a great grand piano on stage. "I have two pianos at home: I practiced for years on an old upright piano with a light keyboard touch, and I was frequently suffering when meeting on stage instruments with a heavier touch. Then I bought in 1977 a grand piano Kawai, and asked the piano maker to adjust it with a heavy touch response, to be perfectly at ease on all kind of pianos I am invited to play. I always have the music in my head, but it only comes out on the right instrument."

Solal obviously enjoyed playing the Steinway on offer here, and almost forcibly had to restrain himself from letting out even more amazing music already at soundcheck. He was wondering which song even the kids attending the concert that evening would recognize, some tune so well known that he could weave it into his improvisations to get their attention. After several suggestions, this 90 year old European Jazz Legend was finally reminded of "Frère Jacques", a nursery rhyme Solal knows well, but had never played before – at least the way he did that night!
The two "Sir Jack" improvisations on the theme of this canon included in this live recording alone attest the pianist’s sensitivity, creativity, and prodigious technique. And yes, they, and all the other melodies you thought you knew so well, sparkle with refreshment, too.


Götz Bühler
Martial Solal besitzt die unentbehrlichen Eigenschaften des kreativen Handwerks in Hülle und Fülle: Einfühlungsvermögen, Fantasie und eine erstaunliche Technik. Vor allem funkelt er vor Begeisterung." Diese Worte des Lobes schrieb sein "Soul-Bruder" Duke Ellington zu Solals US-Debüt, das 1963 in Newport mit Bill Evans' Rhythmusgruppe Paul Motian am Schlagzeug und Teddy Kotick am Bass aufgenommen wurde. Mehr als ein halbes, spannendes Jahrhundert später bewies der legendäre französische Pianist und Komponist, der mit Werken für Soundtracks, Orchester, Big Bands und seine eigenen Gruppen sowie in Duo-Settings mit allen von Lee Konitz bis Dave Liebman von sich reden machte, inzwischen wieder einmal, warum der Duke ihn so sehr liebte.

Sobald Martial Solal sich im Theater Gütersloh zum Soundcheck ans Klavier setzte, schienen die monatelange Vorbereitungen und Übungen für dieses Solokonzert und die Strapazen der Reise von seinem Wohnort in Chatou bei Paris zu verschwinden. "Zu Hause mache ich nicht einmal Musik, ich übe nur Tonleitern und ähnliches", sagte er, nachdem er erklärt hatte, warum er sich darauf freut, auf einem großen Flügel auf der Bühne zu spielen. "Ich habe zwei Klaviere zu Hause: ich habe jahrelang an einem alten Klavier mit leichtem Tastenanschlag geübt und habe oft gelitten, wenn ich auf Bühneninstrumente mit schwereren Anschlag traf. Dann kaufte ich 1977 einen Kawai-Flügel und bat den Klavierbauer, ihn mit einer schweren Anschlagsdynamik einzustellen, damit ich mich auf allen Arten von Klavieren, zu denen ich eingeladen bin, wohlfühlen kann. Ich habe die Musik immer im Kopf, aber sie kommt nur auf dem richtigen Instrument heraus."

Solal hat es offensichtlich genossen, den hier angebotenen Steinway zu spielen und musste sich fast zwangsläufig davor hüten, nicht schon beim Soundcheck noch mehr großartige Musik freizugeben. Er fragte sich, welches Lied sogar die Kinder, die an diesem Abend das Konzert besuchten, wiedererkennen würden, eine Melodie, die so bekannt war, dass er sie in seine Improvisationen einflechten konnte, um ihre Aufmerksamkeit zu erregen. Nach mehreren Vorschlägen wurde diese 90 Jahre alte europäische Jazz-Legende schließlich an "Frère Jacques" erinnert, ein Kinderlied, das Solal gut kennt, aber noch nie zuvor gespielt hatte - zumindest so wie an jenem Abend!
Allein die beiden "Sir Jack"-Improvisationen zum Thema dieses Kanons, die in dieser Live-Aufnahme enthalten sind, zeugen von der Sensibilität, Kreativität und erstaunlichen Technik des Pianisten. Und ja, sie und all die anderen Melodien, von denen du dachtest, dass du sie so gut kennst, funkeln ebenfalls vor Lebenslust.

Artist(s)

Solal was the son of an opera singer and piano teacher, and learned the instrument from the age of six. After settling in Paris in 1950, he soon began working with leading musicians including Django Reinhardt and expatriates from the United States like Sidney Bechet and Don Byas. He formed a quartet (occasionally also leading a big band) in the late 1950s, although he had been recording as a leader since 1953. Solal then began composing film music, eventually providing over twenty scores. He is probably best known for the music he wrote for Jean-Luc Godard's debut feature film Breathless (À bout de souffle, 1960). In 1963 he made a much admired appearance at the Newport Jazz Festival in Rhode Island; the Newport '63 album purporting to be a recording of this gig is actually a studio recreation. At this time, his regular trio featured bassist Guy Pedersen and drummer Daniel Humair. From 1968 he regularly performed and recorded with Lee Konitz in Europe and the United States of America. 1988 In recent years, Martial Solal has continued to perform and record with his trio. Throughout his career he has performed solo, and during 1993-94 he gave thirty solo concerts for French Radio, a selection of performances from which were subsequently released in a 2-CD set Improvise Pour Musique France by JMS Records. Solal has also written a piano method book entitled Jazz Works. In 1997 Solal performed with Lee Konitz, Dave Holland, and Jack DeJohnette in "Satori". In its January 2011 issue, The Gruppen Review published a 12-page interview in which Solal discusses his work as an eternal "researcher in jazz".
Source: Wikipedia

Press

Listen to him in this recent German solo performance: thirteen pieces in which he lays everything, shows the entire jazz pianistics and also distribute musical quips in between.
Jazzism, 15-6-2018

A true sample of fine music that has been promoted by Solal's hallucinatory spirit into a true pleasure.
Rootstime, 30-4-2018

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