RECORDINGS such as The Cook the Clown the Monk and the Accordionist and Piano Ambulance provided a personal introduction to the characterful music of Italian composer, accordionist and pianist Maurizio Minardi, having seen him perform some years ago in London. So it’s no surprise that new album Le Chat Brel – his collaboration with French violinist Gabriel Bismut – has grown into a complete listening delight.
Their entrancingly rounded quartet is completed by guitarist Barthélemy Seyer and double bassist Maurizio Congiu, plus guest harpist Livia Ferrandon-Bescond. Twelve original compositions of Bismut and Minardi – six apiece – are performed with jocose or romantic spirit through an evocative melding of their jazz/folk/baroque sensibilities (European union – stronger together, as so many of us well know). The album title’s feline ‘Brel’ reference links to their appreciation, and sometimes their live interpretations, of the music of Jacques Brel.
While the timbres of violin/alto and accordion have long complemented each other, there’s something inherently natural about the way their own creations are fashioned, right down to details which often reflect the pieces’ titles. So, for example, there’s the impulsive scratch and busyness of MInardi’s Le Coq Baroque, as well as cheery, shuffling Penguin (an irresistible tune from his Cook album, in the mould of The Divine Comedy or, appropriately, the Penguin Cafe Orchestra). The two composers are certainly well-matched. Holiday atmospheres in Bismut’s blithe Persévérence are given a lovely depth by his alto instrument, complemented by Seyer’s lithe guitar improvisations; and Endurance’s sunny, Parisian demeanour steals the heart.
More contemplative numbers such as Fleur Du Hasard and Per I Tuoi 28 Anni sigh with wistful, spatial elegance, their intimacy enhanced by the closeness of this recording. La Brume too, supported by hazy electric guitar textures, feels melancholic as shared violin and accordion melodies evoke illuminated riverside vistas of gently-rippling reflection. And two sumptuous Bismut compositions, Bipolarité and Peau, Neuve – the latter contrasting hymnal quietude with improvisational freedom – are sensitively enhanced by the harp of Livia Ferrandon-Bescond.
But the joyful vigour of this quartet’s interaction is always bound to resurface – firstly in Minardi‘s gypsy-jazz Anastasia, where Bismut’s bluegrass-suggested portamenti gleefully dance over its infectious rhythms; and then in galloping Tulipano Nero, whose anticipatory, Vivaldian drama is summoned by chattering accordion and Danse Macabre-style double-stopping and brash soloing (all brilliant ensemble-playing that has to be heard). As a final curtain call, sneering tango Marcello struts into colorized vaudeville – a great summation of this album’s seductive entertainment.
Le Chat Brel is released on 13 November 2020 and available here.
Gabriel Bismut violin, alto
Maurizio Minardi accordion
Barthélemy Seyer guitar
Maurizio Congiu double bass
Livia Ferrandon-Bescond harp (tracks 8, 11)
AMA – AMA 01 (2020)