After the defection of Gregory Porter, headlining of the festival on Monday, August 1, the pianist quartet, planned in the first part, composed of Pierre de Bethmann, Eric Legnini, Bojan Z and Baptiste Trotignon, offered a brilliant concert.
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Jazz in Marciac had to start his last straight line with Gregory Porter. Around 7 p.m., we learn that the singer with the voice of Crooner and Gospel loved by the public of Marciac (Gers) is blocked in Sofia (Bulgaria). It was therefore with four pianists, announced under the pianoforte label, that the festival continued, this Monday 1
Before them, Jazz in Marciac had already seen, since July 22, Diana Krall, preceded by a surprising Dominique Son-Aimé, later, later, Melody Gardot, alternating with Jeff Beck, Marcus Miller, Herbie Hancock, Rhoda Scott or with the child of the college of Marciac, Emile Parisien; But also Avishai Cohen, Ayo, Keziah Jones, Imelda May, Beth Hart: voices, always voices, and gratin, please. Singers and singers continue to tow the jazz market with bare hands, it’s more than verifiable.
However, from their first piece, very warmly praised, we understood that the pianoforte quartet was going to play friendship, emulation and respect. Pierre de Bethmann (born in Boulogne-Billancourt, in 1965), Eric Legnini (Huy, in 1970), Bojan Z (Belgrade, in 1968) and Baptiste Trotignon (Paris, in 1974) had very finely prepared their business. All leaders, big caliber guides, all-terrain adventurers, with a discography of four more than eloquent. In short, luxury partners. Directory, distribution, it was hand sewn.
Now, instead of opening their concert with eight hands by a well-danted thing, to take the public in the stomach, no, slowness. Who? No matter ! Anyway, when they play all four, they invent and create the room together. This is the privilege of jazz. The groove will come on time. Since the marquee is planted on the rugby field of the town, there are two wingers at the Grande Pianos and two centers with Rhodes pianos. Never the same. The Fender Rhodes, says for convenience “Electric Piano”, is recognizable among a thousand: this unique, fleshy sound or itinerant sound, sound of toy and large organ, which has dressed so much music, since the 1970s.
Extending possibilities
The four friends change roles, instruments, immediate partner … choreographies with very happy combinatories. If we keep some inclination for factorials, we understand the extent of the possibilities. Street dialogues, unleashed tutti, more than one sign that does not deceive: the ends are always clear, precise, clear. They can guess, anticipate themselves, warn, they have prevenances. Nothing to do with the shallot race to which a distraught audience often reduces jazz: a dark story of rivalry, of domination. There, it is the brilliant opposite, because these four know what to accompany means, what place to give to the chorus (solo), what part to give to the installation …
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