Romain Pilon

“Colorfield”

(Whirlwind Recordings WR4641)

The latest in a fine crop of releases on the Whirlwind Recordings label is this collaboration between French guitarist Romain Pilon and a trio of highly talented Americans in the forms of tenor saxophonist Walter Smith III, drummer Jamire Williams and Whirlwind label owner Michael Janisch (double bass). 

Born in Grenoble Pilon has been playing guitar since the age of ten, initially inspired by rock guitarists such as AC/DC’s Angus Young. He later turned towards jazz and passed an audition to attend the prestigious Berklee College of Music in Boston, USA, where he studied Jazz Performance with such luminaries as Mick Goodrick and Joe Lovano, winning several College awards in the process.

After graduating Pilon moved to New York where he worked with saxophonist Seamus Blake, bassist Matt Brewer and many others. His quartet supported fellow guitarist Pat Metheny and Pilon appeared on trumpeter Christian Scott’s 2002 début album “Impromp2”, a recording that also featured Walter Smith III.

Pilon has since returned to France, basing himself in Paris, and has appeared at clubs and festivals all over Europe. He co-leads a group with tenor saxophonist David Prez, releasing two albums to date.  Pilon is also a member of the Paris Jazz Underground, a collective sextet who have recorded one critically acclaimed album.

The guitarist has maintained his American connections and in 2012 released a trio album, “NY3”, featuring old friend Brewer on bass and Colin Stranahan at the drums. Many of the Americans with whom Pilon has worked are members of Janisch’s ever widening circle of US and European musicians and this album is yet another excellent example of Janisch’s fostering of jazz links across the Atlantic.

Pilon’s playing has been endorsed by fellow guitarists Lionel Loueke, Peter Bernstein and Mike Moreno. He’s an intelligent musician who adopts an unshowy, low key approach, a long way removed from the flash and power of his early hero Angus Young. These days Pilon’s playing is more informed by contemporary jazz guitarists such as Kurt Rosenwinkel and he favours a clean electric jazz guitar sound with minimal reliance on pedals and effects. 

The album notes contain a definition of the Color Field school of abstract painting which flourished in New York during the 1940’s and 1950’s its best known practitioner being Mark Rothko. The style incorporated large blocks or fields of colour with the emphasis less on detail and technique but on “an overall consistency of form and process”.
To steal another quote from the liners “color is freed from objective context and becomes the subject in itself”.
It’s an approach that Pilon attempts to mirror in his music, there’s an overall mood and semi conceptual feel to “Colorfield” that permeates the entire album, the tight focus and discipline of the musicians conspiring to create an air of relaxed calm even in the most animated moments.

The programme consists of seven Pilon originals plus a lovely version of Horace Silver’s “Lonely Woman”. The interplay between Pilon and Smith is exceptional throughout with the intelligent rhythmic support of Janisch and Williams bringing the best out in both men. Smith is in imperious form on the opening “Acceptance” his playing a superb blend of fluency and lyricism that reminded this listener of Mark Turner at his best. Pilon maintains an essentially supportive role with his intelligent comping and chording, Williams’ neatly energetic drumming never imposes but always adds with Janisch the rock around which it all flows.

The trio item “Twombly”, named for the American artist Cy Twombly (1928-2011) directly references the album concept and is a focus for the leader’s quietly adventurous soloing, a mix of nimble chording and delicately darting single note lines. Williams again provides subtle, delightfully detailed accompaniment as Janisch’s bass lines mesh delightfully with Pilon’s own playing.

“Man On A Wire” (dedicated to the wire walker Philipe Petit)  has more of a song like structure, ballad like in feel and with the kind of strong melody Pilon’s former mentor Pat Metheny would be proud of. Smith is the featured soloist here, his tone tender but searching as he probes the melody with imagination and intelligence. Pilon shines in the tune’s early stages and Janisch and Williams provide understated but flexible and intelligent support throughout.

Pilon based the piece “Three On Seven” on Wes Montgomery’s “Four On Six” and there’s plenty of agile soloing from the leader as he adapts Montgomery’s approach to this current project. Smith stretches out imaginatively on his solo above the brushed chatter of Williams’ drums and Janisch’s authoritative anchoring bass. 

The quartet’s version of Horace Silver’s “Lonely Woman” is simply delightful with the warmth of Smith’s tenor complemented by Pilon’s rounded guitar tones, the purr of Janisch’s bass and the delicacy of Williams understated brushwork.

The breezy title track takes an unexpectedly animated turn, hell Janisch’s robust bass line and Williams’ shuffling grooves are almost funky. These are over-scored by long, graceful melody lines which seem more in line with the Colorfield concept. Smith’s lithe solo is complemented by Pilon’s agile chording and the leader’s own brief solo on the outro has a ringing, singing, joyous quality about it.

“You” is another beautiful song like ballad that initially sees Pilon and Smith sharing the melody before Janisch delivers a dexterous but highly lyrical bass solo. He’s followed by Pilon whose own solo is a model of cool, controlled elegance.

The closing “7th Hour” concludes the album in more energetic fashion, the bop like theme propelled by Williams’ brushed shuffle groove as Pilon and Smith deliver typically lithe and graceful solos.

“Colorfield” is an understated gem that sounds very different to much of Whirlwind’s output but is still wholly admirable in its own way. Pilon realises his vision superbly, there’s a clarity and unity of purpose about this album, a sustained aesthetic that makes it a perfect mood piece. The playing from all four protagonists is excellent throughout, undemonstrative but always skilful and intelligent with an underlying sense of really serving the music. In its own way a quiet masterpiece. 

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