In & Out Jazz Review “The Barcelona Session” Raynald Colom
“THE BARCELONA SESSION” Raynald Colom, trumpet /Danny Grissett, piano/Gregory Hutchinson, drums/ Joe Sanders, double bass /Lluc Casares, tenor saxophone //Fresh Sound New Talent.2019// #BAM /Jazz
Text by Begoña Villalobos
Translation by Camila Jessel
Pictures by Andreu Ribas
The trumpeter of the album Banned In London, (London Jazz Festival 2012, Whirlwind Recordings), offers a live recording of contemporary jazz produced by Michael Janisch/Aruan Ortiz, featuring guest artist Greg Osby.
For his fifth album as band leader Raynald Colom gets together a group of colleagues, all avant-garde international musicians. On tenor sax is the outstanding New York-based LLuc Casares (Barcelona 1990), who has just released his second album “Sketches Overseas”.
Some of the band were included on the Slovenian tenor sax Jure Pukl’s fabulous album Doubtless (2018 Whirlwind Recordings) which also features the great American pianist (Fender Rhodes) Danny Grissett, (Los Angeles 1975) who lives in Vienna, and well known New York jazz drummer Gregory Hutchinson along with the renowned Joe Sanders (Wisconsin 1984) on double bass, forming one of the most powerful rhythm sections on the current jazz scene with a Black American sound. Dave Bianchi and Kelky Hibbert mixed and mastered the album.
One of Raynald Colom key principles is to allow his musicians to improvise freely. The album can be defined as BAM music, Black American Music, a term used in 2011 by Nicholas Payton advocating a tighter musical concept expressing black identity to which Raynald Colom is akin.
The quintet formation in The Barcelona Session integrates post-bop trends based on traditional jazz, vanguard aesthetics and a Blue Note design. The album is a mixture of original compositions by Raynald Colom and composers who have influenced him throughout his life such as Wayne Shorter, Edward Bland, Darius Mihaud and Terence Blanchard as well as other greats like Nicholas Payton.
Unlike previous albums such as Sketches of Groove, Evocation (2009), or Rise, the trumpeter incorporates pianist Danny Grisset and his Fender Rhodes electric piano into the project, like his first album My Fifty One Minutes (2004) entirely with Fender Rodhes .
Joe Sanders/ Danny Grissett / Raynald Colom / Gregory Hutchinson
The eleven-track album includes Tapies and Miro a reference to two of Spain’s best known painters of the past century, with updated versions from Steel, a project that Colom presented at the Marciac Jazz Festival.
After the intro comes the melodic, slow theme Orange and Blue featuring the trumpet.
The fifth track Centerlude, scarcely a minute of brilliant dissonant exchanges between electric piano and drums, comes as an interlude to Sketches Set 7 Segment 1. This piece, a tribute to the work of American composer Edward Bland (1926) begins with an intimate dialogue between bass and piano which grows in intensity until the appearance of the Fender Rhodes.
Another of the outstanding tracks Lil Fawdy by Terence Blanchard has the quintet playing a fast piece of melodic bebop with fluid exchanges between keyboards, trumpet and sax. Dusk (Dad’s Lessons) dedicated to Raynald’s father, clarinettist Philippe Colom, is a dissonant duo between trumpet and the effects pedal. Powder Keg, a fabulous composition by Wayne Shorter, grows in intensity after a powerful start. It features the trumpet of Raynald Colom and a strong rhythm section with solos by Gregory Hutchinson which build up to a fast melody played by the trumpet and a splendid solo by Danny Grissett.
Like his first album My fifty-one Minutes (2004) Raynald Colom closes the album with a trumpet and electric piano duo playing an enchanting ballad, a version of The Peacocks, a Jimmy Rowles composition first recorded in 1974, one of the tracks from the film Round Midnight made famous by pianist Bill Evans among others.
“The Barcelona Session” album of Raynald Colom is a balanced combination of lyricism, abstraction, melody and improvisation. In & Out Jazz