can only suggest the reading of the bookdvd Martial Solal

Any relationship between the elegant austere silence of Stéphan Oliva and Sophia Domancich searing Browse the program of the quasi-festival "Pianissimo" which is the spring of the Parisian Sunside (until May 26), you might place in the envi an inventory of contrasts and differences that are artwork or a reflection of the nature of a comprehensive instrument: piano, the heir of the fortepiano which Europe is sometimes forgotten that it is based on string hit by frappeurs hammers and therefore "percussion". But, to the extent where it is one of the deepest instruments by European "scholarly" music, it appears in the history and African American as the music news and the issue of a great contradiction.

Technically, historically, the use of the piano, first by slaves "in house" having access, and then by generations of "Jazz", could not only highlight the heterogeneity of this music. As if the coexistence of the black and white keys was emblematic of the created nature of jazz that mixes including the range temperate Europe and the pentatonic range of African origin.

Of the settlement to the conflict, the evolution of the relationship between the two trends underlying any adventure, exemplary, the piano in the jazzosphère. And of these clashes and equilibria arise singularities and piano figures, to the point that one is tempted to nutrient in the universe of each instrumentalist mixed, like obsolete labelling indicating in what proportions was "hot" and "cool", features each characterizing his work of any secret or special signs, whether it is the most sarcastic of the italoparisien Giovanni Mirabassi lyricismrare swing of a Laurent Coq between strength and fragility, power and caress, not to mention the positive but (or because) never ostentatious virtuosity Baptiste Trotignon, or Manuel Rocheman, impeccable and delicious disciple of Martial Solal who previously have said (too) modest "old fashioned".

Surprises and discoveries

We must confess: that would be the French piano sphere without the tutelary genius of Martial Solal Of course, it does not appear on the poster of this encyclopedic Pianorama, but of all these stakeholders which would dare claim be remained indifferent solalienne obviously, the amount of work and invention that allowed the building of its towering translucent architectures (At which would decrypt the "Solal mystery", can only suggest the reading of the book-dvd "Martial Solal, composer of the moment", ed. Michel de Maule / INA.)

Other surprises and discoveries should afford the curious or eager, including the young Frank Woeste, deliciously outgoing musicality. Also note the exceptional concert of the American Fred Hersch, if he no longer has much to prove, drawn-out not to travel in all directions the musical Galaxy of impure and soft jazz to the most refined classical music, dialogues with the voices of Andy Bey or Kurt Elling at the "crossover" of the Mozartian Renée Fleming. Say that this "keyboard chatouilleurs" parade does that bring water to the mill of writ, the lover of the piano: "through the events of its own history, it is the story even jazz that can read...". "And his strongest news.