2023-04-22 15:50:27
The father, the son and the Cully Jazz
At the Temple, Pascal Auberson and César Decker held a family reunion at the piano and sax without shouting despite their virtuoso feats of arms. Full concert, like the Friday evening of the festival.
On April 21, Pascal Auberson and his son César Decker gave life, on the stage of the Temple, to the album “Ainsi de suites”, published the same day.
Chantal Dervey
Behind the instruments, arms outstretched on the high stained-glass window of the church, Jesus seems to be waiting for a sign from his father. Nice metaphor. According to the latest news, Pascal Auberson is not the good Lord and his son César Decker has fortunately exceeded the age at which Christ joined his father in a particularly unpleasant way. Friday, in a busy Cully Jazz despite the gloomy weather, this reunion of a father and his son was carried out gently, in tenderness and in music, with a piano for the first and a sax for the second. It was the first “real” collaboration on stage between the two musicians, apart from a few gala occasions. Jesus had enough to raise his arms to heaven. The public too.
“We played with the family on birthdays, that’s all”, summarized the pianist shortly before the concert, omitting in passing to specify that it was his that day: Pascal Auberson indeed shares with Robert Smith, of The Cure, and Iggy Pop the advantage of being born on April 21. At 71, the Lausanne man retains an unchanged exaltation, amused gaze and carnivorous jaw, always turned towards future episodes although this one presents from its title, “As well as suites”, an unprecedented function of passing the baton from Pascal to his 39 year old son. You can even see a family coat of arms there, as the Aubersons have been linked to music since grandfather Jean-Marie, a famous conductor. It was Antoine Auberson, the saxophonist uncle, who gave César a taste for the instrument, which he went to study at the New School in New York.
César Decker on the attack.
Chantal Dervey
On the stage of the Temple, this virtuosity is easily confronted with that, earthy, of his daron. The challenge is daring: to take up themes from his repertoire, invent others, but assign the sax the function of “singing”, Pascal being “content” to hold the piano and, by his percussive strikes, the tempo. The format could seem arid: it breathes happily through all the reliefs where it ventures, between aggressive pranks bordering on free and more “full” ranges where the sax sometimes flirts with the sweet prettiness of eighties. The synchronicity, in any case, is staggering, making one wonder about this inexplicable intuitive understanding born of blood ties.
“It was not an easy collaboration, weighs Auberson. The father’s authority no longer exists between musicians: we are two artists in our fields. He is the leader of the harmonic, I of the rhythm. I have more profession, obviously, more brass bands. But then what’s the point of playing with your own child? “Between a father and a son, we sometimes don’t have enough to say to each other because everything is subordinated to a single essential evidence: we love each other. In this sense, music is a good way to communicate, because it allows us to say things differently.
Pascal Auberson, percussive piano in white gloves.
Chantal Dervey
Return to the Temple. And to the song “Aleppo”, dedicated to the civilian victims of the Syrian war. These things said “differently” then took on their full meaning in the context as adequate as a church. Breaking with the format of the other compositions, Auberson comes out of his silence to sing a rhythmic muezzin song to the ringing of a bell, before his son joins him in a tumult of strings and brass, then the vocal chant resumes, haunting , imperious, tragic. Faced with such an evocative force, osmosis reaches its highest degree, emotion too. After the gloved hand has caressed the cymbal one last time and the sound dies between the spans, Pascal gives his son a look that says much more than pride.
Cully Jazz, until Sunday April 24
www.cullyjazz.ch
“Thus next”, Pascal Auberson & César Decker (TCB Jazz)
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