| Jazz |
We are dealing with a few albums that are much less exciting than what we’ve had since the beginning of 2023, but they are still of good quality. It’s fair to say that overall, we’ve been spoiled, perhaps even a bit too much. Regarding this album, from the introduction of the first track, there’s a sense of “déjà vu”, followed by a feeling of weariness as the tracks progress—not that the compositions aren’t interesting, but the arrangements are in a classic form that tends to dampen the bass and the trumpeter’s vitality, with an omnipresent and rather irritating guitar by the end. By the third track of this album, ‘D.D.Q.’, I started to lose interest. That ever-talkative guitar drains any desire to keep listening. Fortunately, the piano is somewhat more present, but it deserved to be more upfront in the final mix. The impression of background instruments is quite strange when listening.
Here’s what we know about this artist: For several years, bassist Christopher Parnis has made a name for himself on the Canadian jazz scene as an inspiring sideman and a determined bandleader. In 2019, he began forming his own quintet to develop and perform his original music. He started with his oldest musical colleague, drummer Aaron Blewett, also from Peterborough, Ontario. He then added Zimbabwean guitarist Matt Greenwood, Toronto-based trumpeter Chris Antonacci, and acclaimed Canadian pianist and double JUNO award-winner Brian Dickinson. It is with this group that Christopher recorded his debut album *Everything You Could Be*, a dynamic recording that traces his journey to Toronto to pursue his art.
However, let’s put things into perspective: if I stopped listening to this album after the fourth track, exhausted by that guitarist, often in such cases, it’s the artists themselves who make production choices. While some are capable of this, it’s not the case here. Christopher Parnis is an excellent bass player, but the result of this album leaves us wanting more. From my point of view, a trumpet, double bass, and drums trio would have been the right formula. The parts where the guitar is absent are the rare moments when things go well on this album, as Christopher Parnis has real interpretive talent, not hesitating to make his bass squeal at times in a perfectly harmonious way, only to be systematically interrupted by that darn guitar, which, in my opinion, has no place in a project like this. Nevertheless, purchasing this album will allow you to discover a bass player to watch for on his next album, as we might very well be pleasantly surprised. As for this album, we give it three stars.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, August 11th 2024
Follow PARIS-MOVE on X
::::::::::::::::::::::