Colin Vallon Trio

“Danse”

(ECM Records – ECM 2517, Bar Code 570 9323)

“Danse” is the third ECM album release from the trio led by the Swiss pianist and composer Colin Vallon (born 1980).

Vallon has been honing his own particular take on the art of the trio since 1999 and has released a total of five albums in the format beginning with Les Ombres (Unit Records 2004) and “Ailleurs” (HatHut, 2007).

The trio’s music captured the ear of ECM supremo Manfred Eicher who signed them to his imprint and produced their widely acclaimed label début “Rruga” in 2011. Review here http://www.thejazzmann.com/reviews/review/rruga/

This was followed in 2014 by “Le Vent”, which I’ve yet to hear, and now “Danse”, which sees Vallon continuing to hone his approach to create an increasingly distinctive group sound that demands that this trio be regarded as one of the best of its type in the world.

The Vallon Trio has undergone a number of personnel changes over the years but bassist Patrice Moret has been with the group since 2004 with Julian Sartorius now firmly established in the drum chair since replacing Samuel Rohrer for “Le Vent”. The new album is comprised of eleven relatively concise original compositions, the majority from the pen of Vallon but with Moret contributing one tune and with one further piece credited to all three musicians, presumably a collective improvisation.

In my review of “Rruga” I wrote about how “European” the trio sounded, far removed from conventional American swing or bebop, yet still distanced from the European classical tradition thanks to their fascination with folk music forms, particularly those of Turkey and the Balkans, the consequence, perhaps of Vallon’s Turkish ancestry.

Vallon has claimed to be influenced more by singers than by other pianists and he and Moret play in the band of the Albanian born vocalist and fellow ECM artist Elina Duni. He also cites Bjork and Thom Yorke (Radiohead) as particularly strong sources of inspiration. More conventional jazz sources include Wayne Shorter, Miles Davis and Thelonious Monk while the 20th century contemporary classical composer Gyorgy Ligeti has also been mentioned.

“Rruga” revealed that despite Vallon’s nominal leadership the trio was the most democratic and interactive units. Even allowing for the change in the drum chair these qualities are again evident throughout the new album, beginning with the opening track “Sisyphe”. Vallon has always placed great emphasis on melody and this is readily apparent on this lovely piece which also makes highly effective use of space, very much in keeping with ECM’s traditional aesthetic. The trio’s performance is relaxed and natural with Moret’s melodic bass assuming the lead at one point. Sartorius’ playing is ultra sensitive and delicate, the epitome of restraint and good taste. Indeed the piece shares many qualities with the music of label mate Tord Gustavsen with Sartorius fulfilling the Jarle Vespestad role to perfection.

As its title might suggest “Tsunami” is more vigorous but nevertheless builds from quiet beginnings. Vallon likes to expand and develop relatively simple ideas and is not afraid to use repetition in his music suggesting the influence of minimalist composers such as Steve Reich and Philip Glass as well as more contemporary jazz artists such as Esbjorn Svensson. This piece rises and falls, centred around Vallon’s compelling piano phrases but with Sartorius’ finely detailed and subtly nuanced drumming also a continual source of interest and fascination. Indeed the relationship dialogue between pianist and drummer is a constant delight throughout the album. 

“Smile” (not the Charlie Chaplin song) spreads gently with Vallon’s hypnotic piano motifs answered by Sartorius’ subtle but absorbing drum commentary as Moret fulfils something of an anchoring role. Gradually the piece begins to grow in terms of both momentum and intensity before coming to an abrupt halt as the “Smile” is suddenly switched off. 

The brief title track is more freely structured and and has something of an improvised feel as the music quickly develops from the customarily quiet beginning into a brief but animated three way exchange.

“L’Onde” offers further spirited and sparkling dialogue between Vallon and Sartorius with the pianist’s rapid ostinati recalling those of Johann Bourquenez of fellow Swiss piano trio, Plaistow.

Credited to all three group members “Oort” is a brief but haunting improvisation featuring glacial piano, murky arco bass and a rich filigree of percussive sounds from Sartorius. The drummer is a phenomenally busy musician, a band-leader in his own right who is involved in a myriad of other projects. He also performs solo concerts and featured in this capacity at the 2016 EFG London Jazz Festival. On the evidence of his playing throughout this album it’s easy to see how he would be able to capture the attention of audiences in the exposed setting of the solo drum performance.

“Kid” marks a return to the melodic, spacious lyricism of the opening “Sisyphe” and is one of Vallon’s most straightforwardly beautiful compositions. It’s another example of just how finely calibrated a unit this trio is with Vallon’s pianistic melodicism embellished by Sartorius’ exquisite cymbal work as the piece gradually builds to embrace an almost epic grandeur before gradually falling away again.

At a little over a minute and a half in length “Reste” is a delightful melodic miniature with the focus firmly on lyricism.

Moret’s “Tinguely” features tightly interlocking rhythms with Vallon sometimes deploying prepared piano techniques as the music develops from a freely structured intro into something more tightly focussed and hard driving. The piece exhibits something of the earthy percussiveness that defined certain parts of “Rruga” and it fits well into the aesthetic of the album as a whole.

The richly atmospheric “Morn” places the emphasis on a melancholy beauty and is reminiscent of some of the quieter moments on “Rruga” in that it almost seems to be played in slow motion. Vallon’s pensive and precise piano is complemented by the ethereal shimmer of Sartorius’ percussion shadings which enhance the atmosphere of fragile beauty.

The album concludes with a slightly longer variation on “Reste”, a melody too beautiful to be used only once with the gentle patter of Sartorius’ percussion a particularly engrossing component.

“Danse” is a thoroughly absorbing album that combines two different musical strands into a convincing whole with some of the pieces unashamedly putting the emphasis on beauty and lyricism, others experimenting with form and repetition. In the hands of the Vallon trio it all comes together to create an increasingly recognisable group sound that ECM aficionados may recognise as sitting somewhere between the very different approaches of label mates Tord Gustavsen and Nik Bartsch. Perhaps the most distinctive element is the unique drumming of Sartorius, clearly a musician to look out for in any context. 

I’ve yet to see the Colin Vallon Trio perform live but unfortunately have not yet had the opportunity to do so. The group will be touring Europe in February, March and April 2017 but sadly will not be coming to the UK. However for the benefit of our friends in mainland Europe the dates are listed below. Meanwhile the “Danse” album is highly recommended. 

 
From http://www.colinvallon.com

Concerts

10.02.
Kulturcinema, Arbon

11.02.
AMR, Genève

14.02.
Kultursuppe, Riehen

17.02.
Kulturscheune, Liestal

04.03.
Nova Jazz, Yverdon-les-Bains

09.03.
A-Trane, DE - Berlin

10.03.
Jazz geht Baden, Baden

14.03.
Café Mokka, Thun

28.03
Café Mokka, Thun

04.04.
Jazz Festival, Cully

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