From the Ground
1. Temps un
2. Temps deux
3. Temps trois
4. Temps quatre
Antillas
5. Santa Maria
6. Nina
7. Pinta
Petite suite pour Django
8. Mineure
9. Francaise
10. To the Clouds
Cinq miniatures pour tuba
11. Dialogue
12. Cantilene
13. Valse musette
14. Chanson
15. Swing
..."Bleue comme une orange"...
16. ..."comme une pierre sur le ciel"...
17. ..."debout sur mes paupieres"...
18. ..."s’evaporer les soleils"...
Patrice Caratini (double bass and conductor)
Andre Villeger (alto and soprano saxophones,
clarinet)
Matthieu Donarier (tenor and soprano saxophones,
clarinet, bass clarinet)
Remi Sciuto (baritone, tenor and soprano,
flute)
Claude Egea (trumpet)
Pierre Drevet (trumpet)
Denis Leloup (trombone)
Francois Bonhomme (horns)
Patrice Petitdidier (horns)
Francois Thullier (tuba)
Bastien Stil (tuba)
David Chevallier (guitar, banjo)
Alain Jean-Marie (piano)
Manuel Rocheman (piano)
Thomas Grimmonprez (drums)
and...
Thierry Caens (trumpet)
Eric Vinceno (electric bass)
Jean-Claude Montredon (drums)
Sebastien Quezada (percussion)
L’Orchestre Imaginaire-Ensemble Instrumental
de Mosselle, conducted by Fabrice Kastel
A four-part composition combining the approaches
of classical and jazz, taking the most extreme
from both; a collage of different types of
music - from Europe, Africa and the Caribbean;
a dedication to Django Reinhardt, loosely
constructed around simple chords to give the
soloists freedom; five small pieces written
expressly for the tuba to play the main part;
and a work that ‘unfurls in the usual way
with a dialogue between the soloist and the
orchestra, with one slight difference however,
the protagonists belong to two different worlds
that don’t have much to do with each other’...
Caratini, it seems fair to say, is a somewhat
eccentric composer - even by the standards
of modern jazz. But at no point within these
five musical suites does he let his work drift
in to obscurity. Reading through his detailed
notes on each of the compositions, it’s difficult
not to be struck by the thought and sheer
hard work that created them. Caratini not
only hears, but feels and sees his music,
endowing each instrument with a personality
and a role to play within the whole. Themes,
emotions, dialogues, even images give the
suites a solid structure and achieve for Caratini
‘meaning in the midst of this apparent disorder’.
From the Ground, however, is far from
an esoteric experiment, or a purely intellectual
achievement. Despite the detailed compositions,
and incredibly tight performances, there remains
in the work a certain rawness that lends it
incredible character. And for all it’s serious
musicality, it’s far from lacking in catchy
riffs or charismatic performances. The opening
section of ‘From the Ground’ is as energetic
as anything in jazz, with Matthieu Donarier’s
intense tenor sax blasting through the swells
of sound provided by the rest of the ensemble.
The final part of ‘Antillas’ is beautiful,
playful and highly melodic, building up then
releasing tension over a Euro-Caribbean riff
(and making the most intelligent use of the
banjo I’ve ever heard!). Even ..."Bleue
comme une orange"... - the suite with
the protagonists from ‘two different worlds’
- is a largely accessible piece of music.
Though never exactly easy listening, some
pleasant harmonies arise at the points where
the protagonists hit on mutual ground. And
the climax to the final part (and indeed to
the collection as a whole), is suitably energetic
and bold, reaching a satisfying resolution.
Intelligently composed, stunningly performed
and very well presented, From the Ground
is an incredible achievement that will
appeal to vast and varied tastes. A worthy
addition to any CD collection.
Robert Gibson
CD Reviews
Le Chant du Monde 274 1227
