- Claude Debussy
Piano works
Preludes (Book 2), Children’s Corner, The Joyful Isle. Vanessa Benelli Mosell (piano).
These interpretations of Debussy cannot satisfy purists – but can one be satisfied in the name of the prince of rebels? – because they have above all the merit of being personal and sometimes move significantly away from references anchored in the ear. Without getting lost or leaving the composer’s so free universe. Debussy does not aim to paint but his works look like paintings. Vanessa Benelli Mosell exposes them by posting herself at the distance that suits her to balance attention to detail and vision of the whole. Very quickly, his ideal becomes ours; in particular by the attention paid to notes (morse signals, melodic rosaries) more than to chords and colors (although his piano occasionally houses an orchestra). The Préludes open onto infinite worlds that their titles barely hint at. After this almost sacred side of Debussy, Vanessa Benelli Mosell moves on to its “cabochard” opposite with Children’s Corner whose antics she does not always render “properly”. And that’s good. Pierre Gervasoni
1 CD Decca Italy.
- Rhoda Scott
Lady All Stars
Founded in 2004 by organist Rhoda Scott with saxophonist Sophie Alour, trumpeter Airelle Besson and drummer Julie Saury, the Lady Quartet evolved into a two-saxophone form with Lisa Cat-Berro in place of Airelle Besson. And here is the Lady All Stars, which gives its title to the album full of swing and groove, where the formation deploys all its going with in addition to the five musicians mentioned, the saxophonists Céline Bonacina and Géraldine Laurent and the drummer Anne Paceo. The arrangements of winds and of the organ, a powerful and rumbling Hammond, constitute like the sound of a section of a large orchestra, particularly lively in the sequence of Golden Age, Escapade and I Wanna Move. Recorded at the Parisian club Sunset/Sunside, this Lady All Stars fully jazz, blues and gospel in its sources, gives voice to a collective desire to lead ensemble passages and solo parts to the highest level. Sylvain Siclier
1 CD Sunset Records/Baco.
- Elvis Costello & The Imposters
The Boy Named If
Recently immersed in the works of his debut, on the occasion of a new version of the song This Year’s Girl used as the credits of the second season of The Deuce, then the re-recording of his second album, This Year’s Model (1978) with Hispanic performers (Spanish Model, 2021), Elvis Costello, 67, extends this journey back in time with The Boy Named If. From Farewell OK, the angry opening of this thirty-second opus, we seem to be teleported to a time when the Irishman from Liverpool revealed himself to the world, a bespectacled man in a suit and tie sputtering his rage. After a first try (My Aim is True, 1977), the singer with a rapping voice had established himself by surrounding himself with the Attractions, an electrifying trio (drummer Pete Thomas, keyboardist Steve Nieve and bassist Bruce Thomas) ideally suited to a writing that reconciles melodic verve and bilious energy. in tune with the punk years. With the exception of Bruce Thomas, replaced by his quasi-double, Davey Faragher, the Imposters reconstitute this “dream team” throughout a disc multiplying winks at the impetuosity of classics such as Pump It Up (Mistook Me For a Friend, Magnificent Hurt), Oliver’s Army (The Difference) Where Watching the Detectives (Penelope Halfpenny). A wonderful bath of youth also rejuvenating ballads – Mr Crescent, Paint The Red Rose Blue – worthy ofAlison orAlmost Blue. Stephane Invitation
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