Press

This is a very young trio formed in 2023, with no albums to their credit. A breath of fresh air in the stifling theater where the heat seems to rise like a fever at El Pao. Overcome by a fortunately fleeting feeling of unease, of the five themes I will only listen to Blues for Emil (a tribute to the Hungarian pianist Emil Spanyi, whose teaching skills are well established, who trained himself with the greats François Jeanneau, Jean François Jenny-Clark, Daniel Humair, and others at the Paris Conservatory). The last track, Ta Van, is named after a Vietnamese village. Listening to the comments of my fellow jury members, it is clear that everyone is charmed by the moment, welcoming the obvious risk-taking. Brume's desire to develop a very personal, sensitive approach is palpable, even at the cost of a certain fragility that the saxophonist embodies with a magnificent sound, Jean Paul Ricard whispers to me. A true rich and deep tenor sound, a subtle and lyrical drummer who even attempts New Orleans rhythms, and a guitarist who leads a trio without a double bass and provides his share of rhythm, though sometimes seeking effects in the early pieces. They dare to lose their balance, accepting the rough edges that are part of or can occur in music that sometimes seems so out of place. But it works because they blend perfectly in terms of timbre and energy, and they adjust to create a true group sound, demonstrating surprising maturity and already capable of crafting unique music. Less than with others, we feel that "already heard" effect that alters certain interpretations that present themselves as original. "Abrasive and atmospheric," says Mattéo Fontaine, which perfectly sums up the atmosphere created by the French trio.

Sophie Chambon pour Jazz Magazine,
4 août 2024