| Jazz |
This album was sent to us from Europe in November 2024, and it undoubtedly took its time, lingering in many ports before finally reaching us today. Ordinarily, when such delays occur, one might be inclined to let it pass unnoticed. But here, the first thing that catches my eye is the album cover, which adopts the same color codes as certain Texan artists. The comparison, however, ends there, for the compositions are unmistakably European, infused with strong classical influences.
From the very first notes, one is captivated by the profound communion between the two musicians. It is all the more striking given that piano and solo guitar are rarely paired in recorded works, yet here, their union is nothing short of sublime. From their first encounter, Sebastian Voltz and Gilles Grethen felt an immediate musical attraction. Their approach to piano and guitar seemed to complement each other effortlessly, weaving together their rich timbres with natural ease. After several meetings on the jazz scene in Saarland, the duo decided to solidify this artistic affinity by founding the Chroma project; a truly charming and poetic idea, one that can be taken in the plural, like so many romantic adventures brought to life through the album’s eleven tracks. They employ, and at times even revel in, the art of silence, crafting compositions and arrangements of infinite delicacy.
Pianist and guitarist alike seem to walk in the footsteps of Keith Jarrett, juxtaposing passages of intimate subtlety with moments of intensity and dense texture. Structured and imbued with a vocal-like musicality, their compositions recall Mendelssohn’s Lieder Ohne Worte (Songs Without Words), firmly rooted in the Romantic tradition of storytelling and emotion through melodic instrumental music.
We learn that before turning to the guitar, Gilles Grethen played the violin; a fact that undoubtedly explains the delicate touch that renders his guitar sound almost magical, perfectly attuned to the inspired flow of Sebastian Voltz’s piano. Together, they carve out a new musical language, never seeking to conform to any one style. Many European artists, such as Iiro Rantala, follow a similar path; yet within their works, there always lingers a certain essence of jazz. This kind of music invites contemplation and introspection; one must take the time to listen to this album multiple times, for it resists definitive judgment. It is an art form that demands openness; both in its compositional approach and in the listener’s willingness to receive it with an unguarded mind.
Sebastian Voltz initially trained as a classical pianist before turning to improvisation after his studies. A lover of modern art, he refuses rigid boundaries, instead seeking to build bridges between musical styles, creating a sonic language where influences intertwine harmoniously.
An album like this does a world of good. It breaks us out of our usual listening habits, offering a moment of serenity. Yet, one must be wary; at times, the sheer energy of these two musicians might sweep you away. A work as “indispensable” as it is essential.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, March 24th 2025
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