| Jazz |
Bassists-turned-composers are increasingly prolific in presenting albums as 2024 draws to a close. This finely crafted album warrants some exploration of its essence: when a sound wave is produced, it interacts with every particle of matter it encounters.
The energy generated is transported and diffused, becoming “sound particles.” To propagate these particles in all directions, we have Mario Allard on saxophones, Marie-Fatima Rudolf on piano, Alain Bédard on double bass, and Michel Lambert on drums. This quartet has existed for nearly two decades, and it is likely this remarkable longevity that has fostered such cohesive interplay, resulting in an album that is as intricate as it is profoundly aesthetic—one where every listener can easily find their footing.
The long-standing journey of Quartette L’Auguste has earned it a place among the most renowned jazz ensembles in Canada. The group has played a pivotal role in shaping Canadian jazz history, particularly in its home province of Québec. This latest album is part of a series of events commemorating the 25th anniversary of Effendi Records, the label founded by Bédard and one of the most prestigious names in Canadian jazz. However, this album does fall somewhat short in the element of surprise. While each track is impeccably arranged and composed, it evokes echoes of other albums released over the past three years. True originality is a rare and elusive feat, though I find myself preferring this sort of work over excessively avant-garde projects that risk alienating much of their audience.
The album showcases not only the masterful musicianship of its four members but also their compositional talents: from Profumo Chaneleone, Bédard’s ode to a friend’s favorite perfume, to Terrain Neutre by Marie-Fatima Rudolf, a plea for greater empathy in the world, and A Goose Story by Lambert, a musical tale about a hooded figure caught mid-burglary. Personally, I am most charmed by more radiant pieces such as Terrain Neutre, Bamboozled, and Mel & Less. As you might gather, this album offers a little something for everyone—a quality that, in the end, might be its greatest flaw. It risks coming across as overly eager to please, lacking a singular, defined artistic direction.
That said, the joy it brings is undeniable. The musicians, each outstanding in their own right, make it easy to listen to the album from start to finish. The double bass, at times almost excessively assertive, can feel a touch insistent—perhaps deliberately so. Whatever the case, this album certainly earns its four-star rating, though it narrowly misses a place among our “Essential” selections, likely due to a lack of ambition in opting to cater to an already loyal audience.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 21st 2024
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