LE TEMPS FOU - THE MUSIC OF Marion BROWN (vinyl)

Description

Why does American saxophonist Marion Brown remain one of the best-kept secrets in jazz history? While tributes and "in memory of" ceremonies are daily occurrences for artists of the blue note and improvisation, why have there been so few projects dedicated to Marion Brown's feverish, versatile, and unclassifiable work? Perhaps precisely because it is too feverish, versatile, and unclassifiable. "And that's also why his music really hooked me," confides the young Frenchman, a key figure in the Caribbean jazz scene in Sonny Troupé's or Ralph Lavital's bands. In the late 60s, Marion Brown lived in Paris and composed the soundtrack for Marcel Camus' *Le Temps Fou* - the film would actually be released under a different name and with music by Nino Ferrer. It is precisely around this "Parisian period" that Jonathan Jurion wanted to focus. Even taking on the title of this cursed soundtrack. As a way of recalling that music, and jazz in particular, aims to disrupt time, to make it lose its mind, to turn it upside down. With a cardinal principle in mind: "above all, not to lose sight of its spirit, but to add my own." That is to say, imagining arrangements with "Caribbean colors" and choosing pieces "that lend themselves to the Ka drum," the key instrument of gwoka. "Surrounded by highly estimable accompanists, one would swear that Jurion is possessed by the spirit of Brown. A pianist to watch closely, whose other facets we are now eager to discover - but there's no great rush: *Le Temps Fou* will help us wait calmly." --- JAZZ MAGAZINE ---. "I've been following what Jonathan Jurion has been doing for fifteen years now. He was just twenty at the time, and he joined Iguane Xtet to prepare the band's first album and participate in several festivals in mainland France and Guadeloupe. And we were all irrevocably captivated by his playing, between his talent, his gift for innovation, his technique, his musicality, his refreshing versatility, in short... At the same period, still in Guadeloupe, Jonathan was involved in all the good projects: Caraib II Jazz, Artefact, Dunk, Christian Laviso... The beginning of a long list of collaborations that he would then continue in Paris, often with Arnaud Dolmen, and with musicians like Ralph Lavital, Yann Négrit, Mokhtar Samba, or Tangora. A few years ago, his trio with Arnaud Dolmen and Damien Nueva hinted at an upcoming production, but the project wasn't yet ripe. More recently, we felt something stirring during his participations in Sonny Troupé's or Jowee Omicil's projects. Until finally this year, rumors of a first album swelled to finally be confirmed. It is therefore an event for me, and even a source of pride - even though, clearly, I had nothing to do with it, mind you! - to finally see 'Le Temps Fou - The Music Of Marion Brown' released, and what's more, excellently produced, on a new quality label, Komos Jazz, led by the sound explorer Antoine Rajon. And so it is with an augmented trio that Jonathan delivers this first album dedicated to the music of the often unloved Marion Brown. While the choice of this repertoire may seem surprising, it must first be seen as a beautiful meeting of ideas between Antoine Rajon's "The music of" concept and Jonathan's natural affinity with the tormented history of Marion Brown, whose ultra-free free jazz was an undisguised mark of rebellion. Next, Brown's themes lend themselves wonderfully to Jonathan's Creole jazz reinterpretation. He relies - I'm tempted to say "obviously" - on the drums of Arnaud Dolmen, his long-time accomplice, and as multifaceted as the pianist's arrangements. The trio is completed by the unexpected but oh so judicious Michel Alibo, on double bass, who proves here that his jazz fusion label is only one facet of his purely jazz, round, refined, and subtly grooving playing. From the outset, on "Sweet Earth Flying," a nervous piano responds equally to Olivier Juste's ka, followed by the very Caribbean "Capricorn Moon" where the pianist is joined by Jowee Omicil (sax) and Josiah Woodson (tp). Brown's compositions perfectly suit the warm and lyrical treatment that Jonathan imposes on them, and in the space left for improvisation, one sometimes feels the temptation of free jazz emerging, like a sketch or an inclination in the making (La Placita). *Le Temps Fou* is the title of a soundtrack written by Marion Brown for Marcel Camus' film of the same name in 1969, but don't look for the film, it doesn't exist. It was finally released under the name *L'Eté Sauvage*, and the music replaced by compositions by Nino Ferrer, who also acted in the film. Without questioning Nino Ferrer's talent, it's clear that the spirit had changed... On this track, but also "Children's Tales" or "La Placita," besides Jonathan's playing, we discover a true jazz trio carried by Michel Alibo's double bass and Arnaud Dolmen's finesse. The Caribbean groove reasserts itself on Magic Brown, and even dives straight into the past with a delightful solo "West India," between "Monkien" stride and Latin (unfortunately not on the vinyl). So here it is, Jonathan Jurion is releasing his first album this June 2020, and it is simply formidable. Marion Brown is Creole there, and it seems obvious. Jonathan confirms his great talents for interpretation and arrangement. A jazz trio is born (let's hope!). Pure joy!" --- by Christophe Jenny.