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MATT BAUDER "DAY IN PICTURES" (2010) by JOHNNY GUITAR Freddiejazz

Matt Bauder on tenor sax

long time now, the referee had whistled the end of regulation time, and no person 'could have said where were the extensions ... These same words, these same formulas, to borrow a phrase from Alain Fleischer, I now come to mind to describe this disc also carefully regulated, organized and programmed: DAY IN PICTURES Matt Bauder , released in 2010 on Clean Feed label is a disc that builds on a traditional jazz, clearly identifiable in terms melodic and rhythmic. Extension or extensions, each chooses his formula. Moreover, during his program "Open Jazz" (as yours truly does not fail to listen when he has time - it's every day on France Musique, from 19h), Alex Dutilh him even pronounce the word "extension", while we did discover two or three themes of this cake. And indeed, our tenor sax came from the depths of Texas, this young man barely old thirty years, extends here the idiom of jazz very classic, one that refers to what was in the 50s and 60s. Not that this is a project that pays into parody or pastiche, although in the liner notes there Bauder cites Jimmy Heath as one of his earliest influences. No. Only the disc fits into an extension of what was Stan Getz, Ben Webster , Coleman Hawkins and to some extent, Miles Davis (sometimes we remember the first great quintet of the sorcerer black, with John Coltrane and Bill Evans). The success of the album is no doubt (the compositions are beautiful, varied, homogeneous), but we sometimes get the feeling that the musicians did not want to risk too much (you might say, in KIND OF BLUE, either). In the end, we have a pretty good fucking hard and very beautiful (the sound of the whole, far from any noise music is a clarity that is breathtaking). Composed of seven parts all as original as each other, Day In Picture does not, never falls into the demonstration, let alone pontificate. In 45 minutes, the important thing is said. Bauder declined to include standard, because the creation and inspiration are more important to him. That said, we can always find a few references here and there (for example, the intro to "reborn not gon ', track 4, referring to" Gone, Gone, Gone "by Gil Evans with Miles Davis, cf. Porgy and Bess). Other winks to jazz of the 50s is no shortage ...

Tomas Fujiwara (photo Claudio Casanova)

Finally, Matt Bauder with his thick black glasses (a beautiful picture shows a portrait inside the digipack), has still a big sound, who knows how to sweet and romantic walks (listen to the beautiful "Park After Dark") but also very "out" or "suspended" in pieces rather mid tempo (and the opening in "Cleopatra's Mood"). In this first theme, a rhythmic atmosphere, this way of treating the offender's phrasing is simply amazing. Suspense, and a few surprises, so .. And above all an artist who, despite his credentials, trying to imitate anyone or only plays what he has in him ... The trumpeter who officiated at his side, Nate Wooley , is in sobriety, the sound is chiseled, his trumpet and light. Not too bop, not too mainstream. Just in the service of music. Inhabited. As for the rhythm, it is also very simple, even classical architecture. But it is not a problem. Composed of Angelica Sanchez on piano (Tony Malaby's partner), Jason Ajemian of on bass and Tomas Fujiwara finally on drums, it even includes a sincerity and freshness of integrity, which affects outset the listener. The voicings of Sanchez are beautiful. No notes nor superfluous puffery, as one can find Today in disks resolutely turned towards the postbop. In short, if this disc is nothing revolutionary (in form and in substance, any acoustic quintet, contemporary jazz, vaguely reminiscent of what was in the 50s) is still a high level technique. The musicians were in their luggage as many melodies from elsewhere (the imagination is at full throttle) that controlled rage and energy bittersweet inhabited and inspired they are. The sounds captured sometimes extends to a certain nostalgia, but without sentimentality, it is rather in humility, poetry and contemplation. And when the instruments are mixed with harmonics and notes can be complex, at least in a swing melodies that innervate them is natural, we say that yes, this album is a success. Matt Bauder, remember this name. I do not think I am right in saying that this is a jazz artist to watch very closely ...

Matt Bauder trio, in a version of "Cleopatra's mood". We will recognize Tomas Fujiwara on drums (stealthily). In this session, bassist Jason Ajemian is not.

« DAY IN PICTURES » de Matt Bauder (2010, Clean Feed)
1. Cleopatra's Mood 7:14
2. Parks After Dark 11:17
3. January Melody 4:55
4. Reborn not Gone 6:22
5. Bill and Maza 13:14
6. Two Lucks 8:55
7. Willoughby 2:40