How dare we spend so much valuable energy answering such questions as "What is Jazz?".



“Everything about this disc works just right. This is one of this year best discs and just in time before the closing of 2012”

Denis Fournier: drums
Nicole Mitchell: flute, alto flute, piccolo
Hanah Jon Taylor: tenor & soprano saxophones, ELV (electronic valve instrument)
Tomeka Reid: cello
Bernard Santacruz: double bass

short movie filmed by Didier Lannoy et Dominique Guerrero in Junas and Montpelier on July 2011.
Please check it!

Dannie Richmond (11:48)
Le Partage des Eaux (11:54 ) Play Pathways (9:42)
Prayer for Wadud (6:47)
La Voce de la Luna (11:27)

Recorded live on July 20th 2011 at Junas, France, at the occasion of Jazz à Junas 2011
Mixing and mastering: Jean-Pierre Bouquet, L’Autre Studio, Vaires-sur-Marne, France
Liner notes: Alexandre Pierrepont
Photographs: Frank Bigotte
Cover design: Max Schoendorff
Cover realization: David Bourguignon
Executive producer: Michel Dorbon

«ROGUEART» warmly thanks Stéphane Pessina Dassonville and all the Jazz à Junas team

If the three compositions proposed by Denis Fournier have already been recorded, they merit to be here as resurgences, like scenarios encouraging the freedom of transformation without which free interpretation is nothing. “I often say that I don’t make improvised music, but that I improvise music. In other words, I put together there and then elements of my life, of my history, of my culture…” In other words, no structure commands the action. Every structure opens to the action (to sharing) which redefines it. On their side, Nicole Mitchell and Tomeka Reid propose, one a musical treasure trail (Pathways), in phases and superposed phrases, the other a lament which is also a homage (Prayer for Wadud), beginning solemnly, elevatory, but dispersing like the cellist Abdul Wadud who still lives isolated from the world. Because if the album starts briskly, it finishes through several series of halos - once reaching Prayer for Wadud and La Voce de la Luna which takes its name and its indolence from Federico Fellini’s last film, itself inspired by a book by Ermanno Cavazzoni entitled Il Poema dei lunatic - The Lunatics Poem…Or how to show that things and beings are never what they appear to be, never only, never complete without the imagination which completes them and glorifies them. Alexandre Pierrepont, excerpt from the liner notes