They were three on the stage of Musical October by Carthage. With a sax, an oud and a piano, the three musicians of the migrant trio have woven the harmonies, married their instruments and gives birth to music of confluence, at the limits of jazz and abstract sounds of the concrete current of the twentieth century.
Unpublished confluence and a Darbouka sax!
Supported by the Piano of Andrea Manzoni, carried by the sax of Javier Girotto, the oud of Mauro Sigura gave an oriental tone to the “sound” of the whole and responded with its rhythms syncopated with the flights of the saxophone.
The sax was imperial sometimes transforming into … Darbouka, playing percussion with the complicity of the pianist who came out the big game when it be a question of embarking on unbridled solos but which seemed to respond to an all arithmetic rigor.
When concrete music meets the Orient
The migrant trio interpreted six rather jazz pieces, evoking a blessed meeting between the sounds of an Erick Satie or a boulez and the pure and air accents of the Sufis Airs. The flute was also at times invited in reinforcement and its presence underlined the eastern vocation of jazz produced by this booth in search of unpublished confluence.
What retains in the migrant approach is that the group installs its musical device in a sort of shift, operating permanent translations between various traditions.
In this sense, what makes the power of this formation is that these shifts are imperceptible, arise fleetingly, then come back just as surreptitiously before vanishing in the ether of the senses.
A learned jazz with oriental and classic architecture, the other, the power of the trio resided in a fact that one could qualify as architectural. Indeed, the evolution of each musical piece seemed to respond to an immutable classical ordering, a kind of game which would give a solo of sax the ascending movements which carry the passage of an adagio to the Andante or to a vigorous prestissimo.
With Migrants, jazz improvisation gave the impression of a musical writing sensitive to the movements that structure chamber music. But here, it was no longer a chamber music but indeed a founding weaving between traditions that everything could oppose but which here are gathered under the same banner.
In tribute to Anouar Brahem and Lotfi Bouchnak
The final was followed by a formidable ovation of the presents. The trio had indeed chosen as the icing on the cake a composition of Anouar Brahem “Ritek ma naaref ouin” famous redue by Lotfi Bouchnak.
This recital was a success, a brilliant moment of this 2016 musical October October, a beautiful sequence that we owe to the musical October partnership with the instito Italiano di Cultura. Certainly one of the highlights of this edition open to jazz, classic and world music.
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