Baroque and Jazz | echo

Jean-Paul Stevinart visits Jean-Sebastian Jazz.

On the album “Triptych”, with trumpeter Marcel Boncelli and his band Il Gardellino, the trumpeter sees the works of the Leipzig anthem from other angles, an inspiration and basis for improvisation as well. It generates subtle collusions between baroque and jazz.

On September 23, the trumpeter will present the event with a disc entitled “Triptych”, a declaration of love for the work of Jean-Sebastian Bach.

Jean Paul Estevenart He is a very busy musician: having been on all fronts at the summer festivals, we will see him everywhere in the halls in the fall, as In Flagey on November 10. But, On September 23, the trumpeter caused a stir with a disc entitled “Triptych”, a declaration of love for the work of Jean-Sebastian Bach.. Produced in close collaboration with oboist Marcel Ponseele and his band Il Gardellino, this recording brings together the worlds of jazz and baroque music in the most harmonious and fluid way.

Bach and jazz is a story as old as jazz. Against the Leipzig Hymns there is, on the part of jazz, a natural attraction, no doubt fascinated by the highly rhythmic writing, the clear melodic line, and the freedom originally left to improvisation. with him Played by Bach’s trio, French pianist Jacques Loser It was successful in the ’60s, just like Modern jazz quartetboth seek to make JSB’s literature swing.

“After Bach”, etc.

Ascension, it is a strong question in this “trilogy” with the three panels “Misery”, “Rise” and “Transfiguration”.

Since pianists Bill Evans, Keith Jarrett and Brad Mildow (“After Bach,” 2018), the two universes are integrated in a more subtle way: no more asking about hybridity or intersection—oh, bad words when it comes to art—but about mutual inspiration, elevation. Ascension, it is a strong question in this “trilogy” with the three panels “Misery”, “Rise” and “Transfiguration”.

“Bach, you can play it in reverse, flip the score, and it still looks good.”

But what can bring them together, a jazz man and an illusion, a baroque? The same passion for Jean Sepp, which Jean-Paul Estevenart (1985) nurtured for twenty years. “Since 2015, I’ve gotten into it pretty well in terms of analysis, anatomy, and inspiration. Then, during Covid, I started learning the introductions and fugues on piano, playing them really slowly at first. Even if I slowed down twenty times, it’s still pretty pretty. Bach, you can Turning it upside down, turning the score upside down, and it still looks good.”

“Winton Marsalis of Oboe”

This infinite flexibility undoubtedly explains why the Ircam native’s work can be accommodated in all kinds of sauces, going to the point of suffering the pain of electroacoustic malformations by software designed at Ircam…None of that here! The idea of ​​the “Trio” by Marcel Boncelli, “Winton Marsalis Oboe” according to Jean-Paul Estivinart. If a current is passed between them immediately, then they must be in harmony with each other.

This is correct to say that because, the ancestor of the current horn, the Baroque or natural horn, without valves, it consisted only of a mouthpiece and a wing attached to a tube, pierced or not. Brandenburger No. 2 is played with this, and it doesn’t always sound quite right, because the ratios between the tones are different. Il Gardellino plays with the period tuning fork, between 396 and 415 Hz, depending on what old instruments are made. I, my twenty-first centurye The horn is 440Hz, and so I had to change everything up to be able to play with them, and I had to go up a semitone. It’s another language.”

chord encoding

“We jazz musicians don’t read all the notes on the piano, we have our own jazz language. But, by adapting it as a jazz standard, we can play all the classical music we want.”

no thing. As soon as the compositions were chosen, the trumpeter left with the notes and settled in front of the piano: “There, I coded everything with jazz chords, to be able to work better. We jazz musicians don’t read all the notes on the piano, we have our own jazz language. But, by adapting it as a jazz standard, you can play all the classical music you want. Otherwise, we stumble, and we have to learn to play the piano like everyone else…”.

If the act of adaptation is solemn between the realms of jazz and baroque, Jean-Paul Estevenaart finds Bach’s writing very stimulating and has every reason to feel close to it: “JSB’s business is perfect. If we talk about feelings, then the way the composer harmoniously travels touches me. Compared to Vivaldi or Purcell, there is always something surprising about him, which moves differently.”

During improvisation we tell the jazz player that he plays ‘in’ and ‘out,’ meaning that he leaves the melody, the main theme that the listener expects to leave in other tracks, before returning to them in an elegant way. We also find this very strong in Bach, who has the art of leaving and coming back and, above all, the way he comes back is an elegant one.. “

bach mystic first

The “trilogy” has its origin in some of Bach’s most serious, even mystical works, which are essentially cantatas, preface, concerto for harpsichord, and one for oboe, but, even there, “the Sicilian oboe concerto BWV 1053R is based on the beautiful ballad of BWV 169 cantata,” explains Marcel. Ponselli in the written text. Which causes the trumpeter to say: “For Marcel, what we do is meditative music. And according to him, then, we can do just the opposite, ceremonial Bach who wrote for the balls of the age,” with great tension, streams, nannies…

Jean-Paul Estivinart opens the album “Triptyque” improvisation. In the Baroque manner, he also composed “Transition”, a pretext for new improvisation, without melody, only with strings. “Triptyque” was recorded with pianist, bassist and organist Anthony Romaniuk and with Sam Gerstmans on double bass. Recorded by Aline Blondiau—sister of trumpeter Laurent Blondiau, the disc makes use of Flagey’s Studio 4 acoustics, which “allow time for a wave to evolve in space. With that, you’re never forced, you play great and let loose.”

Not from the box

Ammunition may be very different, Jean-Paul Estevenaart plays in his own way, without forcing the jazz team, but without falling into the classic trumpet either. “The challenge was this: I have never wanted to touch upon what Bach had written, but I would like to improvise, to create new melodies, which is my way of looking at improvisation.” According to him, it was easier to play in an abstract way, “I could make sound effects. With abstraction, in music as in art in general, you can pretend, and it is easy to deceive people, but I do not. I do not like anything fake. “

In his thinking as a musician, the trumpeter, like many of his current peers, is very sensitive to the way music is perceived and the audience perceives it, two different worlds in itself: “We must think about it a little more, to find more respect towards the audience, to return to it with the music the step that he made her to attend the concert.

daily discipline

“I like Miles more, but musically, for the trumpet, he’s Clifford.”

At home, on Vincent’s subwoofer – powered by a Luxman woofer – Jean-Paul Estevenaert put a very beautiful black and white picture of trumpeter Wynton Marsalis, who admires his style and sound. The series, She, publishes the subject of Clifford Brown. “I like Miles more, but musically, for the trumpet, he’s Clifford.” Great musician – his albums with Max Roach! He left early, and his secret was to play every day, even if he only had fifteen minutes to devote to him.

This requirement, Jean-Paul Estevenaart also made his own, that he could operate the tool within three or four days of a trip to Spain on a motorcycle. On his Yamaha track, he always has a mouthpiece available, which he uses on every stage, about every two hours: “We can do everything with a mouthpiece,” he says with a smile, a sine qua non to mastering this “extremely difficult” instrument.


“Trilogy”, Jean-Paul Stevinart, Marcel Poncell and Il Gardelino feat. Anthony Romaniuk, Fuga Libera / Outhere Music. ****

at the party

Jean-Paul Estiévenart International Quintet, Thursday 10 November 2022 in Flagey, Studio 4. With Jean-Paul Estiévenart, horn; Ben van Gelder, saxophone; Bram Deleuze, piano; Clemens van der Veen, double voice; Jeff Ballard, drums.

#Baroque #Jazz #echo

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