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Erik Truffaz Quartet - Doni Doni (2016)

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Erik Truffaz Quartet - Doni Doni (2016)

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01. Comptine (01:24)
02. Kudu (05:17)
03. Djiki'n (04:21)
04. Pacheco (06:09)
05. Szerelem (05:06)
06. Fat City (06:12)
07. Doni Doni (Part 1) (04:01)
08. Doni Doni (Part 2) (06:58)
09. Seydou (03:35)
10. Le Complement Du Verbe (03:59)

Erik Truffaz - trumpet
Benoit Corboz - keyboards
Marcello Giuliani - bass
Arthur Hnatek – drums
Rokia Traore - vocals (1, 3, 7, 9)
Oxmo Puccino - rap (10)

 

When I heard the very first notes of “Comptine” (the first song on Erik Truffaz Quartet’s Doni Doni), I knew I would like the album: it was the combination of Erik Truffaz’ airy trumpet accompanied with Rokia Traoré’s intensive voice. The following songs proved that sweet jazz with Malian singing is a combination that cannot go wrong!

Erik Truffaz Quartet is a totally new jazz group to me and I was fascinated to find it through the Spotify recommendations. Naturally Truffaz has been around a long time (his recording career started already in 1994) but unfortunately his music had not found its way into my ears until now.

According to several sources, Truffaz seems to have a reputation of combining elements of hip-hop, rock and electronic music into his own compositions. In Doni Doni this can be heard especially in “Le Complément Du Verbe” with its hip-hop backgrounds and Malian rapper Oxmo Puccino’s rhyming. This time, however, the Malian sounds and influences are put in the front: in addition to “Le Complément Du Verbe”, Truffaz introduces another Malian artist when Rokia Traoré takes the role as the leading vocalist. Traoré features in four songs which she delivers beautifully by giving a unique flavor of Malian traditional singing. Check below the amazingly beautiful “Djiki’n” featuring Traoré.

There are many reasons why I have enjoyed listening to Doni Doni. I’ve always been fond of artists who dare to bend the genre burdens and Doni Doni is a great example of this: the album moves from classic Rhodes-driven jazz (“Pacheco“) to afrobeat (“Part II“) and psychedelic jazz (“Fat City“), without forgetting jazzy hip-hop (“Le Complément Du Verbe“). The sound is very rich and playful giving the listener a lot to observe.

However, what I really liked was the fact that it introduced Rokia Traoré to me and lately I have been listening to her albums as well. It’s always fascinating when talented artists collaborate. That is one of the best ways to extend the listeners musical knowledge.

Doni Doni is a great album to give medicine for the winter days. The album is all about taking the listener to a musical journey to the richly toned world of Truffaz‘s sounds. Check out below the album teaser (with a great “Doni Doni – Part 2”) which lets you have a look at Erik Truffaz Quartet‘s recording sessions. Doni Doni was released in January 15th via Parlophone France. --- othersoundz.wordpress.com

 

Urodzony w Szwajcarii, a mieszkający we Francji trębacz Erik Truffaz stał się w połowie lat 90. XX wieku jednym z prekursorów nu jazzu. Podobnie jak Norweg Nils Petter, Molvaer łączył jazz z klubowymi brzmieniami, używał przetworników do trąbki, a rytm perkusji mieszał z komputerowym beatem.

Dzięki albumom wydawanym przez Blue Note Records Erik Truffaz zyskał sławę na całym świecie. Płyty "The Dawn" (1998) i "Bending New Corners" (1999) zostały wysoko ocenione przez krytyków i dobrze się sprzedawały. Ostatnio popularność Truffaza spadła, ale dzięki nowej płycie "Doni Doni" ma szansę powrócić do grona najpopularniejszych europejskich jazzmanów.

W malijskim dialekcie bambara tytuł oznacza wszystkiego po trochu. Truffaz przez pewien czas współpracował z południowoafrykańskim Vuyani Dance Theatre i wtedy zainspirowała go muzyka Czarnego Lądu. Zawsze intrygował go głos mieszkającej w Brukseli malijskiej wokalistki Rokii Traore. Przygotował dla niej dwie piosenki, kolejne dwie powstały w studiu.

Trąbka Truffaza momentami brzmi jak afrykańskie instrumenty dęte, a czasem jakby była podłączona do prądu. Podświadomie kojarzymy ją z Milesem Davisem. Nowy kwartet trębacza potrafi wytworzyć radosny nastrój odkrywania nowych dźwięków, jak i przenieść nas do mrocznego klubu na Montmartrze. W balladzie "Djiki`n" Rokia Traore nakłada na siebie kilka partii wokalnych. Przykładem mainstreamowej przeszłości Truffaza jest temat "Szerelem" ze znakomitą partią organów Hammonada i subtelnymi solówkami lidera. ---Marek Dusza, audio.com.pl

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