{"id":28,"date":"2013-01-30T18:32:00","date_gmt":"2013-01-30T18:32:00","guid":{"rendered":"http:\/\/toddbishopjazz.com\/index.php\/2013\/01\/30\/jazzques-writes-up-our-cafe-belga-show\/"},"modified":"2015-09-28T00:23:34","modified_gmt":"2015-09-28T00:23:34","slug":"jazzques-writes-up-our-cafe-belga-show","status":"publish","type":"post","link":"https:\/\/toddbishopjazz.com\/index.php\/2013\/01\/30\/jazzques-writes-up-our-cafe-belga-show\/","title":{"rendered":"Jazzques writes up our Caf\u00e9 Belga show"},"content":{"rendered":"\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Photo by Jazzques<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Here’s a review of our Brussels show at Caf\u00e9 Belga<\/a> in November, written in French by Jacques Prouvost, AKA Jazzques. Google Translate certainly distorts his original meaning, but is rather poetic:<\/p>\n

\n\u201cThis Sunday, November 4, [Todd Bishop] was Caf\u00e9 Belga Brussels.<\/p><\/blockquote>\n

\nThe world, the noise, the usual deal of the place. So Todd Bishop slams the first shots on the snare. Must be heard. His game is tight, bright and dry. The pulse is strong. And it works! The quartet starts like clockwork.Very quickly, the soloists take their brands and M\u00e9reau Martin embarks on a solo feverish Check Up<\/i>. Then it’s Guinea<\/i> Don Cherry with his throbbing trance. The music hums, rolls and fills the space.<\/p><\/blockquote>\n

\nThis is a fantastic playground for Jean-Paul Esti\u00e9venart. His way up phrases, to invent by mixing always that little bit of humor shifted, this slight ray of light that is in the density of the moment, make him a trumpet definitely always interesting to listen . Guess we always looking for novelty, the truth and the desire to never repeat.Todd Bishop was quickly understood and exchanges with accomplices enrich natural confusing.Then the music turns better and Olivier Stalon benefits and spaces to enter the dance. His improvisations, extremely effective – both rich and simple – revive a Martin M\u00e9reau increasingly released vibraphone.<\/p><\/blockquote>\n

\nThe themes are connected (Feet Music<\/i>, Comme Il Faut<\/i>) to the powerful Enfant<\/i>, played here with an incredible passion. This is probably the best moment of the concert. Dialogues ignite quickly, ideas jostle. This dizzy and it seems that nobody wants to stop. There is a chorus of bidding more attractive to each other. The quartet has found and pleasure on their faces. Each dare go further, driven by one or the other. Bishop gives some indication at a glance, module tensions, holds and releases the clamp. […] <\/p><\/blockquote>\n

\nOrnette be happy, he really has not been betrayed.<\/p><\/blockquote>\n

\nA +\u201d<\/p><\/blockquote>\n

\nHit read more <\/i>to read the complete review in the original French:<\/p>\n

<\/a><\/p>\n

Ce qui est excitant avec la musique d\u2019Ornette Coleman, c\u2019est qu\u2019elle reste toujours vivante, toujours mouvante, toujours pr\u00e9sente et contemporaine. Elle s\u2019adapte aux couleurs et aux sons du moment. Elle ne perd jamais rien de sa force. <\/p>\n

Encore faut-il pouvoir la comprendre, l\u2019entretenir, la stimuler. Bref, il faut la vivre.<\/p>\n

Le batteur am\u00e9ricain Todd Bishop – fervent admirateur de la musique du saxophoniste – en conna\u00eet toutes les lignes de forces. Avec Bill Athens (cb), Tim Willcox (ts) et l\u2019incroyable Richard Cole (bcl, ts, ss, bs) il a sorti d\u00e9but 2012 Little Played Little Bird qui reprend quelques th\u00e8mes de Coleman peu souvent jou\u00e9s (except\u00e9 l\u2019incontournable \u00abLonely Woman\u00bb). Et pour ajouter \u00e0 l\u2019originalit\u00e9 du projet, il a invit\u00e9 aussi le pianiste Weber Iago. Le r\u00e9sultat est un disque plein de vie, d\u2019une magnifique coh\u00e9rence, rempli de swing un peu sale et un peu brut qui r\u00e9v\u00e8le la griffe de Coleman.<\/p>\n

Cependant, pour sa tourn\u00e9e europ\u00e9enne, le batteur se pr\u00e9sentait avec un line-up totalement diff\u00e9rent – preuve de son ouverture d\u2019esprit et de son go\u00fbt pour l\u2019aventure – puisqu\u2019il s\u2019entourait de Jean-Paul Esti\u00e9venart \u00e0 la trompette, Martin M\u00e9reau au vibraphone et Olivier Stalon \u00e0 la basse \u00e9lectrique. Apr\u00e8s Paris et avant le Luxembourg et l\u2019Allemagne, le groupe faisait escale en Belgique pour quelques dates.<\/p>\n

Ce dimanche 4 novembre, il \u00e9tait au Caf\u00e9 Belga \u00e0 Bruxelles.<\/p>\n

Du monde, du bruit, le deal habituel de l\u2019endroit. Alors, Todd Bishop claque les premiers coups sur la caisse claire. Il faut se faire entendre. Son jeu est tendu, vif et sec. La pulsation est \u00e9nergique. Et \u00e7a fonctionne ! Le quartette d\u00e9marre au quart de tour.<\/p>\n

Tr\u00e8s vite, les solistes prennent leurs marques et Martin M\u00e9reau se lance dans un solo fi\u00e9vreux sur \u00abCheck Up\u00bb. Puis c\u2019est \u00abGuinea\u00bb de Don Cherry, avec sa lancinante transe. La musique bourdonne, roule et envahit l\u2019espace. C\u2019est un terrain de jeu fantastique pour Jean-Paul Esti\u00e9venart. Sa mani\u00e8re d\u2019encha\u00eener les phrases, de les inventer en y m\u00e9langeant toujours cette petite pointe d\u2019humour d\u00e9cal\u00e9e, ce l\u00e9ger rayon de lumi\u00e8re qu\u2019il trouve dans la densit\u00e9 de l\u2019instant, font de lui un trompettiste d\u00e9cid\u00e9ment toujours int\u00e9ressant \u00e0 \u00e9couter. On le devine toujours \u00e0 la recherche de la nouveaut\u00e9, de la v\u00e9rit\u00e9 et l\u2019envie de ne jamais se r\u00e9p\u00e9ter. <\/p>\n

Todd Bishop l\u2019a vite compris et leurs \u00e9changes complices s’enrichissent avec un naturel confondant.<\/p>\n

Alors, la musique tourne de mieux en mieux et Olivier Stalon profite ainsi des espaces pour entrer dans la danse. Ses impros, d\u2019une redoutable efficacit\u00e9 – \u00e0 la fois riches et simples – relancent un Martin M\u00e9reau de plus en plus lib\u00e9r\u00e9 au vibraphone. <\/p>\n

Les th\u00e8mes s\u2019encha\u00eenent (\u00abFeet Music\u00bb, \u00abComme Il Faut\u00bb) jusqu\u2019au puissant \u00abEnfant\u00bb, jou\u00e9 ici avec une passion incroyable. C\u2019est sans doute le meilleur moment du concert. Les dialogues s\u2019enflamment rapidement, les id\u00e9es se bousculent. Cela donne le tournis et il semble que personne ne veuille s\u2019arr\u00eater. Il y a une surench\u00e8re de chorus plus int\u00e9ressants les uns des autres. Le quartette s\u2019est trouv\u00e9 et le plaisir se lit sur les visages. Chacun ose aller plus loin, pouss\u00e9 par l\u2019un ou l\u2019autre. Bishop donne quelques indications d\u2019un simple regard, module les tensions, tient, puis l\u00e2che la bride. <\/p>\n

Alors, bien s\u00fbr, la version de \u00abJe suis venu te dire que je m\u2019en vais\u00bb (de Gainsbourg) para\u00eet tr\u00e8s faiblarde \u2013 surtout le d\u00e9but \u2013 apr\u00e8s cette d\u00e9bauche d\u2019\u00e9nergie et de musique brillante\u2026 Mais on ne peut pas leur en vouloir, la musique n\u2019a cess\u00e9 de monter en intensit\u00e9, il fallait bien rel\u00e2cher la pression.<\/p>\n

Les musiciens sont en nage, surtout le batteur, car tous se sont donn\u00e9s \u00e0 fond. Ornette peut \u00eatre heureux, il n\u2019a vraiment pas \u00e9t\u00e9 trahi.<\/p>\n

A+<\/p>\n","protected":false},"excerpt":{"rendered":"

Photo by Jazzques Here’s a review of our Brussels show at Caf\u00e9 Belga in November, written in French by Jacques Prouvost, AKA Jazzques. Google Translate certainly distorts his original meaning, but is rather poetic: \u201cThis Sunday, November 4, [Todd Bishop] was Caf\u00e9 Belga Brussels. The world, the noise, the usual deal of the place. So Todd Bishop slams the first shots on the snare. Must be heard. His game is tight, bright and dry. The pulse is strong. And it works! The quartet starts like clockwork.Very quickly, the soloists take their brands and M\u00e9reau Martin embarks on a solo feverish Check Up. Then it’s GuineaRead More →<\/a><\/p>\n","protected":false},"author":1,"featured_media":116,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24,25,26,15],"class_list":{"0":"entry","1":"post","2":"publish","3":"author-todd","4":"post-28","6":"format-standard","7":"has-post-thumbnail","8":"category-uncategorized","9":"post_tag-2012-europe-tour","10":"post_tag-cafe-belga","11":"post_tag-jazzques","12":"post_tag-reviews"},"_links":{"self":[{"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/posts\/28","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/comments?post=28"}],"version-history":[{"count":1,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/posts\/28\/revisions"}],"predecessor-version":[{"id":117,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/posts\/28\/revisions\/117"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/media\/116"}],"wp:attachment":[{"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/media?parent=28"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/categories?post=28"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/toddbishopjazz.com\/index.php\/wp-json\/wp\/v2\/tags?post=28"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}