Jazz Bonus: Marjolaine Reymond

So there are eleven titles of fiery love poems where female and male figures kiss and eat each other. Should we renounce love and submit to social order as the poet William Wordsworth suggested? Or can we in the virtue of Elisabeth Browning through the Portuguese Sonnets live in the evidence of perfect love that disturbs morality?

Throughout the album weaves a fresco of biblical inspiration around Judaism: In the land of promise announced by Moses (The number Moses), unselfish love magnifies and glorifies the lost son of Jericho (The son of Jericho). The majesty of eternal light will unite through the blood shared by lovers (Lux Aeterna). The creative woman gave birth to the idea and the form that never belonged to any political order (Genitrix is ​​rebellious). » Marjolaine Reymond

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A symbolic difference of love associated with blood, Passion of Blood, Genesis in blood, Blood Sacrifice and Blood of Eternityorganizes the four Hebrew words pronounced by the reciter, the entire album.

Christophe Monniot was entrusted with eleven arrangements of strange steps including six nonets (for vocal, sopranino and alto saxophones, clarinet, F horn, tuba, electric bass, drums), a septet and a ka sextet. Two quintets and a wind quartet in the form of very short instrumental interludes are intended to wind, color, and sequence the shape of the disc in a conceptual and dramatic way. On this theme of love with biblical signs, she approached Marjolaine Reymond’s compositions as she did for these themes she loved in “Hymns to Love” (ONJ), “Second chance” (Emouvance ), “Jericho Sinfonia” (Ayler Records).

The sound is lyrical, natural or transformed, pop or machiavellianly distended depending on the subject. His improvisations are completely free and move organically to the rhythm.

The instrumental writing reconnects here with rhythmic foundations close to Herbie Hancock or Joe Zawinul but painted with original harmonies specific to the arranger’s language. Lyrical melodies then seek a deployment in this unseen orchestral context. (Majesty of the Blood). In this return to basics, it’s an echo of Wayne Shorter’s “Juju” in a rock version that inspires the artist (The Son of Jericho). A languorous femininity that refers to Maria Schneider’s music, a “cartoonesque” prosody like a nod to Frank Zappa’s (Stefano and la Rosa) include different album colors.

The distant metaphor of Leonard Bernstein’s “West Side Story” allows us to understand an orchestra with Latin reverries of the noir films of the 1940s (The Panther of Zipporah). Sometimes close to Arthur Honegger and the group of six, the writing of wind instruments continues with emphasis (Psyche Immaterial, The figure Moses, Genitrix the rebellious, Cielo e Raffaello). The canonical woodwind and brass entries are reminiscent of Luciano Berio’s “O King” (Lux Aeterna).

The repetitive music pushes this pop and devil-like sound over drums with a hip-hop accent (Eternity in Gold). In the last title (Song 5791) the Song of Songs, composed by Javier Leibiusky in Hebrew (The poem of Solomon, verses 4 and 7), represents the last prayer of a prisoner of war to his beloved. Elizabeth Browning’s love poemCatarina Camoens) responds like a melody suspended from imposed standards and evokes “This Prophetic” by John Adams.
(taken from press release)

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