| Jazz |
I first encountered pianist Gwilym Simcock many years ago in France, during a project led by saxophonist Céline Bonacina. He was as impressive in his playing as he was in his ideas—yet also remarkably affable, with a keen sense of humor. Naturally, I awaited this new project with great anticipation, though I was unfamiliar with saxophonist Emma Rawicz. The record label had offered but a single, tantalizing line of introduction: “A summit meeting between two generations of British jazz.” The title alone was eloquent, well-chosen. And so, with a sense of feverish excitement, I pressed play.
How does one whet a jazz journalist’s appetite? Simply by bringing together two instruments that are customarily supported by a rhythm section—bass and drums at the very least. Here, the compositional approach is deeply influenced by classical music, as is often the case with European musicians, most of whom have passed through conservatories. But this does not account for the full breadth of their artistic palette—this younger generation has also been steeped in the sounds of jazz, rock, pop, and world music. It is in this confluence that Gwilym Simcock’s genius truly shines, providing not only a sumptuous backdrop for the saxophonist but also weaving a rhythmic fabric that dissolves sound in the most exquisite manner, allowing us to revel in Emma Rawicz’s gifts as both an interpreter and a melodist.
This is jazz in perpetual motion, slipping seamlessly between musical forms, artfully intertwined. It highlights the boundless artistry of these two musicians. Often, duos serve merely as calling cards for a series of concerts, yet here we are faced with a true work of creation—arrangements that have, quite evidently, been conceived in unison. Every moment is to be savored, all the more so as the recording quality is nothing short of spectacular.
Thus, when these two musicians embark upon this new duo project, they do so with an infectious energy and enthusiasm. “It’s a truly joyful experience and a very positive environment,” Simcock confides, before adding, “We get along wonderfully. Her writing is highly sophisticated, her attention to detail extraordinary.” He admires not only Emma Rawicz’s technical mastery—particularly her fluidity in the upper registers—but also the musical implications of such virtuosity: “With her, ideas flow freely between the player and the instrument, and that is precisely the ideal we all strive for.”
That, in essence, says it all. This remarkable artistic complicity finds its way into these compositions—works of undeniable complexity, yet effortlessly accessible. The admiration is mutual. “I was already a fan,” recalls Emma Rawicz. “So playing in a duo with him is a dream come true.” Despite the generational gap, their musical paths share striking similarities—Simcock and Rawicz even studied under some of the same teachers and at the same institutions.
“This means we share very similar musical references,” Rawicz explains. “Keith Jarrett, Jan Garbarek, Ralph Towner, and the whole lineage of British jazz influenced by folk—from John Taylor to Kenny Wheeler and Norma Winstone. All of these had a major impact.” Both artists also agree that duo improvisation—between a melodic instrument and a piano, a configuration often associated with classical music—reconnects them to the classical tradition that so profoundly shapes their musical identities.
You will, however, need to exercise patience before discovering this album, which is not set to be released until late March. But by speaking of it now, I hope to offer this remarkable work the attention it so richly deserves—securing its rightful place among our “Essentials.”
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 12th 2025
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