Craftsman of exciting blends between Afro-Cuban rhythmic traditions and the most creative jazz, trumpeter Jorge Vistel, recently arrived in Paris, has been causing a sensation since he took his trumpet to the clubs of the capital. With his distinctive sound, the one who collaborated with the greats Benny Golson, David Murray, Lewis Nash and the late Roy Hargrove brilliantly fuses contemporary jazz with Afro-Cuban essence. The energy that emanates is irresistible and reflects the rhythmic and melodic richness of his roots. A wizard of claves, Jorge Vistel belongs to a generation of Cuban musicians for whom, far from any nostalgia, the traditions of their native island constitute a most sophisticated rhythmic breeding ground, which they attempt to assimilate to the most contemporary concepts of jazz. It is therefore not surprising to learn that he studied with Steve Coleman and that Greg Osby, ten years ago, released one of his albums on his own label. To accompany him in his wanderings, he surrounds himself with three musicians whose talent is as brilliant as it is resolutely avant-garde. Jozef Dumoulin on piano, often cited for his pioneering work with the Fender Rhodes (legendary keyboard of the 70s) and the first to present a solo program with this instrument, captured on the album "A Fender Rhodes Solo", which has become cult since its release 10 years ago. On bass, Jean-Philippe Morel, one of the most inventive and fiery improvisers on the French scene, who has lost count of his collaborations with national and international figures. Originally from Cannes, drummer Stephane Adsuar decided to train in the United States, notably with Terri Lyne Carrington and Ralph Peterson, before moving to Paris where the modernity of his playing and the precision of his drumming did not fail to make people talk about him in the musical world....
read more
Craftsman of exciting blends between Afro-Cuban rhythmic traditions and the most creative jazz, trumpeter Jorge Vistel, recently arrived in Paris, has been causing a sensation since he took his trumpet to the clubs of the capital. With his distinctive sound, the one who collaborated with the greats Benny Golson, David Murray, Lewis Nash and the late Roy Hargrove brilliantly fuses contemporary jazz with Afro-Cuban essence. The energy that emanates is irresistible and reflects the rhythmic and melodic richness of his roots. A wizard of claves, Jorge Vistel belongs to a generation of Cuban musicians for whom, far from any nostalgia, the traditions of their native island constitute a most sophisticated rhythmic breeding ground, which they attempt to assimilate to the most contemporary concepts of jazz. It is therefore not surprising to learn that he studied with Steve Coleman and that Greg Osby, ten years ago, released one of his albums on his own label. To accompany him in his wanderings, he surrounds himself with three musicians whose talent is as brilliant as it is resolutely avant-garde. Jozef Dumoulin on piano, often cited for his pioneering work with the Fender Rhodes (legendary keyboard of the 70s) and the first to present a solo program with this instrument, captured on the album "A Fender Rhodes Solo", which has become cult since its release 10 years ago. On bass, Jean-Philippe Morel, one of the most inventive and fiery improvisers on the French scene, who has lost count of his collaborations with national and international figures. Originally from Cannes, drummer Stephane Adsuar decided to train in the United States, notably with Terri Lyne Carrington and Ralph Peterson, before moving to Paris where the modernity of his playing and the precision of his drumming did not fail to make people talk about him in the musical world.
Artisan de mélanges passionnants entre traditions rythmiques afro-cubaines et jazz le plus créatif, le trompettiste Jorge Vistel,récemment débarqué à Paris fait sensation depuis qu’il promène sa trompette dans les clubs de la capitale. Avec son son distinctif, celui qui a collaboré avec les immenses Benny Golson, David Murray, Lewis Nash ou le regretté Roy Hargrove fusionne avec brio le jazz contemporain avec l’essence afro-cubaine. L’énergie qui s’en dégage est irrésistible et reflète la richesse rythmique et mélodique de ses racines. Sorcier des claves, Jorge Vistel appartient à une génération de musiciens cubains pour qui, loin de toute nostalgie, les traditions de leur île natale constituent un vivier rythmique des plus sophistiqués, qu’ils tentent d’assimiler aux concepts du jazz les plus contemporains. On n’est ainsi pas surpris d’apprendre qu’il a étudié auprès de Steve Coleman et que Greg Osby, dix ans en arrière, a publié l’un de ses albums sur son propre label. Pour l’accompagner dans ses pérégrinations, il s’entoure de trois des musiciens dont le talent est aussi brillant que résolument avant-gardiste. Jozef Dumoulin au piano, souvent cité pour son travail pionnier avec le Fender Rhodes (clavier mythique des années 70) et premier à présenter un programme solo avec cet instrument, figé sur l’album « A Fender Rhodes Solo », devenu culte depuis sa sortie il y a 10 ans. A la basse, Jean-Philippe Morel un des improvisateurs les plus inventif et fougueux de la scène française, qui ne compte plus ses collaborations avec des pointures nationales et internationales. Originaire de Cannes, c’est aux Etats-Unis que le batteur Stephane Adsuar décide de se former auprès notamment de Terri Lyne Carrington et Ralph Peterson, avant de venir s’installer à Paris où la modernité de son jeu et la précision de ses frappes n’ont pas manqué de faire parler de lui dans le milieu des musiciens.
show less
