In 1963, Martial Solal, at thirty-six, found himself in a trio with bassist Teddy Kotick and drummer Paul Motian, Bill Evans’s two current road companions, on the stage of the prestigious Newport Jazz Festival organized by George Wein. A few days later, this was followed by a studio recording intended to be a “live” performance captured during the concert (applause, theme introductions). In a perfect isosceles triangle, Martial Solal and his accomplices reinvent the standards, those old overplayed chestnuts, which they freshen up and transform. The twelve-minute suite “Suite pour une frise” by Solal fully demonstrates the master keyboardist’s wild creativity. Colossal Solal.
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