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| Photo by Jazzques |
“This Sunday, November 4, [Todd Bishop] was Café Belga Brussels.
The world, the noise, the usual deal of the place. So Todd Bishop slams the first shots on the snare. Must be heard. His game is tight, bright and dry. The pulse is strong. And it works! The quartet starts like clockwork.Very quickly, the soloists take their brands and Méreau Martin embarks on a solo feverish Check Up. Then it's Guinea Don Cherry with his throbbing trance. The music hums, rolls and fills the space.
This is a fantastic playground for Jean-Paul Estiévenart. His way up phrases, to invent by mixing always that little bit of humor shifted, this slight ray of light that is in the density of the moment, make him a trumpet definitely always interesting to listen . Guess we always looking for novelty, the truth and the desire to never repeat.Todd Bishop was quickly understood and exchanges with accomplices enrich natural confusing.Then the music turns better and Olivier Stalon benefits and spaces to enter the dance. His improvisations, extremely effective - both rich and simple - revive a Martin Méreau increasingly released vibraphone.
The themes are connected (Feet Music, Comme Il Faut) to the powerful Enfant, played here with an incredible passion. This is probably the best moment of the concert. Dialogues ignite quickly, ideas jostle. This dizzy and it seems that nobody wants to stop. There is a chorus of bidding more attractive to each other. The quartet has found and pleasure on their faces. Each dare go further, driven by one or the other. Bishop gives some indication at a glance, module tensions, holds and releases the clamp. [...]
Ornette be happy, he really has not been betrayed.
A +”
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