Tag Archives: Felix Hunot

SWEET CREATIONS: “DREAM CITY”: DAVID LUKÁCS, MALO MAZURIÉ, ATTILA KORB, FÉLIX HUNOT, JOEP LUMEIJ

David Lukács dreams in lyrical swing.  His most recent CD is evidence that I do not exaggerate.  Now, I know that some of my American readers might furrow their brows and say, “Who are these people?  I don’t know their names!” but I urge them to listen and watch.

To quote the lyrics from SAY IT SIMPLE (I hear Jack Teagarden’s voice in my head as I type), “If that don’t get it, well, forget it right now.”

Here you can hear the music, download it, purchase a disc.

The sweet-natured magicians are David Lukacs, clarinet, tenor saxophone, arrangements; Malo Mazurie, cornet, trumpet; Attila Korb, bass saxophone*, trombone; Felix Hunot, guitar, banjo; Joep Lumeij: string bass.  The songs are DREAM CITY / A GOOD MAN IS HARD TO FIND / OLD MAN BLUES / MORE THAN YOU KNOW / THAT OLD BLACK MAGIC / MOONLIGHT ON THE GANGES / I HAD IT BUT IT’S ALL GONE NOW / HALLELUJAH! / BLUE PRELUDE / MANDY, MAKE UP YOUR MIND / THEN SOMEONE’S IN LOVE / LOUISIANA / CLARINET MARMALADE / MANOIR DE MES REVES.  The liner notes are by Scott Robinson.

David told me that this CD is inspired by his father’s record collection (obviously the Lukacs lineage has taste and discernment) but his vision is even larger: “With this album I created my own city, my Dream City, where there’s Bix and Tram’s music in one club, Duke is playing in the theatre beside, and you might hear Django’s music around the corner.”

That transcends the time-machine cliche, and each track is a dreamy vision of a heard past made real for us in 2019. The dreaminess is most charming, because this disc isn’t simply a series of recreations of recordings.  Occasionally the band follows the outlines of a famous disc closely — as in A GOOD MAN IS HARD TO FIND — but each song becomes a sweet playground for these (sometimes shoeless) dear geniuses to roam in.

Here’s another video tour, with snippets of the title tune, OLD MAN BLUES, MOONLIGHT ON THE GANGES, MANOIR DE MES REVES (and comments from Scott, who knows):

Readers who feel this music as I do won’t need any more explanation — but a few lines are in order.  I first heard David on record with Menno Daams (check out the latter’s PLAYGROUND) — two musicians who have deep lyrical intelligence, but DREAM CITY is an astonishing combination of the hallowed past and true contemporary liveliness.  David told me that he has been inspired not only by the old records, but by the music Marty Grosz and others made, using those sounds as a basis.  I hear echoes of the Ruby Braff-George Barnes Quartet and the small-group sessions that were so prolific and gratifying on the Arbors label.

DREAM CITY offers us glorious yet understated solo work and — perhaps even better — delicious ensemble playing and gratifying arrangements.  The inspirations are also the Kansas City Six, the Ellington, Basie, and Wilson small bands, and more.  You can draw your own family tree with chalk on the sidewalk.  The “unusual” instrumentation also allows a great flexibility in voicings — this is no formulaic band that plays each song in the same way, simply varying tempo and key — and this CD is not a series of solos-with-rhythm.  Each selection, none longer than a 12″ 78, is a short story in sounds.

If you care to, go back to the video of DREAM CITY — which begins, if I am correct, with a line on the chords of BYE BYE BLUES and then changes key into a medium-bounce blues — and admire not only the soloing, so tersely expert, so full of feeling without self-consciousness — but the arrangement itself: the quiet effective way horns hum behind a soloist, the use of stop-time and a Chicago “flare,” the echoes of Bix and Tram without tying the whole endeavor to a 1927 skeleton . . . worth study, deserving of admiration.

All of the players impress me tremendously, but Attila gets his own * (and that is not the title of a children’s book) because I’d not known of his bass saxophone playing: he is a master of that horn, handling it with elegance and grace, sometimes giving it a limber ease I would associate with the bass clarinet, although he never hurries.  (I also discovered Attila’s 2017 TAP ROOM SWING, a tribute to Adrian Rollini, which I hope to write about in future.)

I plan to continue blissfully dreaming to DREAM CITY, an ethereal soundtrack, so rewarding.

May your happiness increase!

“J’AIMERAIS UN CD” [one by JEAN FRANCOIS BONNEL’S NEW QUARTET]

That’s French, and it means “I would like a CD.”  Your pronunciation doesn’t matter, but your comprehension of those words in this context will bring pleasure.

JAZZ LIVES hasn’t suddenly turned into Swing Berlitz, but those French words are your passport to Paradise, as Sidney Bechet would say.  Paradise is defined as a wholly new CD — and wholly new kind of CD — by the Master, Jean-Francois Bonnel.  Before I explain in words, perhaps some excerpts from the music would be even better.

Here are two audible hors d’oeuvres: Tasty Sample One and Two.

Now, a little history.  I had heard Jean-Francois Bonnel on a variety of vinyl and CD issues, playing reeds alongside some of the greatest hot musicians — standing out but never over-assertively.

But I still was unprepared for his intense swing and lyrical improvisations — on clarinet, on tenor, on cornet — when I first heard him at the Whitley Bay International Jazz Festival in 2009.  He could wail a gutty blues in the spirit of Johnny Dodds, swing out like Kenny Davern, create a tenor ballad that sounded much like Don Byas, play cornet in the best Keynote manner.  His inventiveness seemed limitless.

Finding myself in the hotel elevator with him one evening at a later Whitley Bay weekend, I intruded on his solitude (he is a very quiet man in person) and said, “Monsieur Bonnel, you are a master!”  (He looked embarrassed.)  “You play with wonderful bands — but I hope someday that you will make a CD with just a rhythm section.”  He smiled and said, “Perhaps someday,” the elevator opened, and he was saved from yet another fan who Wanted Something.  I think he was relieved that the elevator only goes three flights in the Village Newcastle.

I thought little of the incident — aside from thinking I should restrain my impulses somewhat — but then I found myself the lucky owner of a new Jean-Francois Bonnel CD where he led a quartet.  It’s all I had hoped for.  I can’t take credit for the inspiration, but the music is joyously on target.

Bonnel flies on clarinet — reminding me of his idol Davern in his late Arbors period, with a lovely clear tone and a fluid but restrained conception.  He doesn’t aim for the highest notes on the instrument to prove it can be done, and unlike Davern, his solos — although logical — are never a series of predictable motives strung together.  The repertoire is extensive — the familiar NO ONE ELSE BUT YOU (recalling Braff and Louis) and Bob Wilber’s take on LIMEHOUSE BLUES, WEQUASSET WAIL, but there are surprises in the middle, among them Ornette Coleman’s THE BLESSING.

The young musicians on this date are all new to me — in fact, they are Bonnel’s students and proteges — but there is no sense of Gulliver among the Liliputians.  Felix Hunot, guitar, Olivier Lalauze, string bass, and Stephane “Zef” Richard, drums, sound like mature players, able to follow Bonnel’s twisting lines or to work beautifully as soloists and as a cohesive rhythm section.  And as a bonus, Claire Marlange sings with subtlety and feeling (in French) on J’AI MARRE DE L’AMOUR (Fud Livingston’s I’M THROUGH WITH LOVE —  happily, the French lyrics keep “frigidaire”) and SI J’ETAIS UNE CIGARETTE.  KARY’S TRANSE and RONNIE’S TUNE (a romp on I’LL SEE YOU IN MY DREAMS) are very Tristano-like, from its tumbling unison line to the way the solos overlap one another.  Like Ruby Braff, Bonnel has a fine varied awareness of the possibilities of the smallest group — using duets as a way of breaking up the potential monotony of head-solo-jammed ensemble.  PLEASE, for instance, pairs clarinet and bass most effectively.  LENA FROM PALESTEENA builds in intensity; THE BLESSING. in Bonnel’s hands, is lyrical rather than angular, a series of musings opening out of one another to form a performance that would have pleased Pee Wee Russell in his last decade; Davern’s LAMENT starts calmly but takes on echoes of a funeral procession; WEQUASSET WAIL sprints from start to finish.  The result is a thoroughly varied and delightful hour of music.

To purchase a copy of this CD, you could encounter M. Bonnel and his New Quartet at one of their gigs in France, or you can click here.  Or ici, if you prefer.

Que votre bonheur augmente.