By Don Phipps
On their album Preludes and Songs, pianist François Couturier and
violinist Dominque Pifarély create abstract tone poems which draw from jazz
standards, Romantic music – especially Chopin and Schumann, the
impressionism of Ravel, and mildly dissonant music. While highly
formalized, the pieces have emotional heft that speak to intimate
contemplation as much as they do to warm summer evenings watching fireflies
dance about.
Take “La chanson des vieux amants.” Couterier caresses the keys in a gentle
dance. Then Pifarély enters. His choice of notes feels troubled and
restless atop the slightly ominous piano pedal-depressed ostinato. “A
Nightingale Sang in Berkeley/Les ombres II” juxtaposes the 1940s ballad by
Manning Sherwin and Reick Maschwitz with Pifarély’s own bleak and gray
composition, “Les ombres II.” The stark violin lines herein contain a
smidgeon of folk atmospherics, but with “Nightengale,” Pifarély’s approach
changes abruptly to a bluesy homage in Stephan Grappelli fashion. The music
returns to abstraction, with Couturier’s rambling and rolling improv both
probing and introspective.
This combination of modernism and bluesy standards is touched upon again in
other tracks. Take “Les ombres I / Lament,” which combines Pifarély’s
composition with a 1955 jazz standard, this time “Lament,” composed by
trombonist J.J. Johnson and lyricist Jon Hendricks. Here Pifarély
demonstrates his ability to generate flowing architecture with breaks for
long legato notes that seem suspended in air. The chordal structures fashion
intimacy that, when Courturier takes over, become almost spiritual. His soft
touch on the keys is both lyrical and profound. Pifarély rejoins, his touch
also light and radiant. It seems to float above the ballerina-like
expressions of Pifarély’s wandering piano.
One of the best tracks is Pifarély’s“Vague.”
The languid recitation is absorbing, like a dimly lit room – where the eyes
try to discern contours that are present but not highly visible. And one
would be remiss not to recommend the album’s highlight – a masterful
rendition of Gershwin’s “I loves you Porgy.” Here, Couturier is able to
craft sumptuous beauty, his piano whimsy joined by Pifarély’s climbing
legato phrases. When the duo reaches the harmonics of the song theme,
Pifarély gets dreamily romantic but adds moments of fleeting dissonance
above the piano chords. Couturier finishes the ballad – his solo peaceful,
emphasizing light touches and gentle blues.
It should be noted that this album is definitely not for free jazz purists.
But for those looking for a safe harbor amidst the tumult, a place to
reflect or meditate on past romance, this modern rework of ballads and
penetrating originals would offer such a solace. Just make sure to close
the blinds and breathe deeply.
