NU_OPEN
You are here:Home>Concert Reviews>Erik Truffaz 4et: The Walk of the Giant Turtle

Erik Truffaz 4et: The Walk of the Giant Turtle

Erik Truffaz is right when he highlights the difference between his own music, set towards research, and Miles Davis’s style. Although some critics have often matched his musical style to Davis, in actuality, he presents this no more than other jazz trumpet-players, since the Miles Davis style is, inevitably, the expressional template posed from bebop on. This difference is what soundly emerged from the fascinating concert Truffaz held for Brass Group at Church of "S. Maria dello Spasimo" in Palermo.

The ambiance contributed to the right mood: in fact, as heavy rain fell, the seraphic french-helvetic Truffaz allowed the public to gather around him and his group (Patrick Muller on keyboards, Marcello Giuliani on bass and Marc Erbetta on drums), on stage, under the only covered side of the dismissed church, in order to shelter them from the cloudburst.

A loop on the electric bass starts the performance, and the intense timbre of Truffaz’s trumpet suddenly spreads around, wrapping everything and everyone. Fine interplay among the musicians, and minimalist drumming, sometimes syncopated, supports the bass that exploits cadences to let even silence play its own part in building up the tune. The sound of Truffaz’s horn is fresh and plain, rounded, and, on the coda, nice timing on drums treats a rhythmic and chanted solo, with reverberating snare. The trumpeter’s playing and improvisations are even and fair, instilling suspense, sometimes meditative, sometimes fluent, never obsessive and always tasteful.

Long-standing notes from the bass, under the electronic chords of the Fender piano, provide fertile humus for atmospheric sounds, while the song hems a funky-groove, very easy. Even more electronic effects are present in the fourth piece, but they never dominate, simply surrounding the voice of the trumpet. Percussions are the main character of the intro in The walk of the Giant Turtle, with percussionist Marc Erbetta producing a singsong voice, while messing with the parade of effect engines placed at his feet. The piano plays stopped notes and, finally, the muted-trumpet enters its part, to mark the evocative atmosphere of this tune, which is the title song of the album. The Mask is another work from this particular jazzman that contributes much to the set list, with songs such as Bending new corners, The Dawn, Arroyo and also, as the encore, the tune Betty.

Even with the inclusion of such odd electronic items, the set results are very attractive and full of rich sounds, where the trumpet constitutes the main voice in this multi-coloured ensemble.

Thus, with his music and trumpeting style, Truffaz confirms himself as one of the most interesting trumpet-players in the contemporary jazz scene.

Additional Info

  • Artist / Group Name: Erik Truffaz
  • Concert Date: 6/20/2003
  • Subtitle: Palermo Brass Group, Season Musiche del nostro tempo
  • City State Country: Palermo
Login to post comments