The jar of essences
Listening to ’’Another Way” reconciles you with the polisemy inherent in jazz. It supposes the return to the origins of a music nursered in the babylonic city of New Orleans in the early XXth century. A city with a port where the european culture of the spanish and french creoles converged with the african rythms, resulting from slave trading, with the near Caribbean and the immigrants coming from New Mexico, with the opposition of the indigenous inhabitants, and with the arrival of new colonists.
What is more symptomatic, however, is that in no way this new album suggests a trip to the past or a nostalgic evocation of those times that will never come back, but rather reencountering a style and manners that, unfortunately, are rare in the jazzistic proposals that govern the current jazz scenario.
This other way that the album title refers to (“Another way”) is nothing but the relocation of jazz into its primitive state, devoid of any magnification or self-satisfaction and touched with the spontaneity and simplicity of an amalgam of different sounds that converge into a common universe. Without any aspirations or any arrogance, but with the elegance, eagerness and respect determined by a sincere and passionate belief.
As for the repertoire, the authoring of 9 of the 12 pieces included in the album shows the detemined intention of the trio to have their saying on the cultural models that inspire them. And the truth is that retrieving the ways of distinguished masters like Professor Longhair, Fats Domino or Doctor John, dressed with the stitches and the chords that both Marc Ferrer and Pep Rius have weaved withntheir creativity brings fresh air to the current musical scene. The equation is completed with Olivier Rocque’ drumsticks, a baterist who masters with the accuracy of a draughtsman what in Flamenco people call ‘compás’, caribbeans call ‘clave’ and jazz performers call ‘beat’.
The complicity of the trio helps to instaurate a delicious harmonic style, as if crotchets and quavers were …