Artist: Rouge
Album: Vermeilles
Genre: Contemporary Jazz, Jazz
Release Date: 2024
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 39:04
Total Tracks: 10
Total Size: 664 MB

Tracklist:

1-1. Rouge – Au creux des ronces (04:23)
1-2. Rouge – Feu (03:50)
1-3. Rouge – Strawberries in the Dark (03:55)
1-4. Rouge – Dans les brumes (02:13)
1-5. Rouge – Louves (05:17)
1-6. Rouge – Move in (03:47)
1-7. Rouge – Pink Flamingo (03:11)
1-8. Rouge – Granit (04:31)
1-9. Rouge – Nid (03:17)
1-10. Rouge – Tempête (04:36)

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If we were to venture to sketch out a small typology of piano / double bass / drums trios that have appeared lately in the very composite contemporary jazz landscape, we would quickly find ourselves in the presence of two large families essentially basing their differences on a more or less direct, erudite and concerned relationship to the tradition and the particular history of this orchestral formula that has become since the turn of the 70s one of the most archetypal of (post-)modern jazz.Indeed, if some continue to inscribe their discourse in the perspective and continuity of the great jazz pianists who have marked the history of the trio of their genius (pursuing, depending on the case, the rich legacies of Thelonious Monk, Ahmad Jamal, Bill Evans, Paul Bley, Keith Jarrett, Chick Corea or Brad Mehldau), a certain number of musicians of the younger generation consciously assume to emancipate themselves from this network of filiations potentially weighing and inhibiting — searching (and finding!) their freedom of gesture and tone in a much more intuitive and sensitive relationship to the vast repertoire of world music.

Drawing their references and influences, without concern for order or hierarchy, both in the world of classical music and in the field of new music, borrowing their grooves as much from contemporary electro-pop as from various extra-European traditions, whether scholarly or popular, these “new trios”, with a form of ingenuity and all youthful audacity, certainly do not intend to revolutionize anything — but undoubtedly open up new perspectives to “jazz” (which they continue to claim for the most part), multiplying at its borders the areas of exchanges and dialogues in ever more personal hybridizations.