| Jazz |
If you follow the latest releases from the German label ACT, you are no doubt familiar with the exceptional pianist and composer Chris Gall, who has already released two albums under this prestigious label with Quadro Nuevo. Gall also collaborates with the Salzburg Philharmonic. The Impressionist movement was born in Paris 150 years ago, and what better occasion for Chris Gall to offer his own inventive reinterpretation? Like myself, he is deeply passionate about Debussy, Ravel, and, of course, Satie—no doubt drawn to the sonic landscapes crafted by the first two and the at times minimalist aesthetic of Satie, who, much like Purcell, masterfully plays with silence to heighten the dramatic depth of his works.
Chris Gall fuses the tonal and harmonic richness of Impressionism with the improvisational essence of jazz, forging a soundscape that is at once nostalgic and resolutely modern. With a touch both virtuosic and exquisitely nuanced, Gall brings to life nine familiar pieces on two impeccably recorded pianos. Erik Satie’s Gymnopédie No. 1 becomes a hypnotic odyssey, performed on a delicately prepared upright piano and infused with a contemporary minimalist sensibility. His lively rendition of Gnossienne No. 2 breathes into its enigmatic melody the rhythmic elegance of Broadway jazz, while Ravel’s Pavane pour une infante défunte takes on the air of a Britpop anthem.
Ultimately, aside from the universally known works on this album, it is often difficult to discern where Gall’s original compositions begin and the classic repertoire ends—a testament to the album’s true essence. For while musicians’ influences are frequently discussed, few push the boundaries of fusion as boldly as Gall, intertwining his reverence for past masters with his own creations. This is not, strictly speaking, a jazz album, but rather a record for lovers of exquisite music in all its forms—and I know we are many. Alongside these classics, Gall’s original compositions draw directly from the Impressionist ethos.
From the laid-back jazz waltz of The Impressionist No. 1 to the modal blues allure of The Impressionist No. 2, each piece distills the spirit of the movement into a thoroughly contemporary framework. Satiesfaction stands out as a daring tribute to Satie, blending classical elements with the rebellious energy of modern rock.
Is this an homage, or an invitation to reflect on the very genesis of a work of art? There is no escaping it: we are drawn into Chris Gall’s world, carried along by his vision. How could one refuse? How could one fail to respect these offerings, crafted with such intellectual rigor, delving deep into the very fabric of the originals to produce arrangements that leave us questioning: is this a well-known masterpiece, or is it a creation of Chris Gall himself? I am reminded of a phrase from my late friend, the poet Léo Ferré: Muss es sein? Es muss sein. Who came first, the chicken or the egg? We can split ideas endlessly without ever arriving at an answer. But is the answer even of consequence? Assuredly not—so long as we know how to listen, to contemplate, and to appreciate. Music simply is.
Far from seeking to “improve” the originals, Gall recontextualizes them, offering a fleeting yet unforgettable experience, where the familiar is draped in new and vibrant hues. His improvisations capture the ephemeral beauty of Impressionism, echoing Monet’s words: “To capture the fleeting—therein lies an insurmountable contradiction.”
An essential album—one that revives our minds in an era when so many seek to dull them. Yes! We embrace it!
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 25th 2025
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