Ava Trio

Jacky Molard/François Corneloup Quartet
Entre Les Terres
Émouvance EMV 1049

Two disparate ensembles animate sessions of eloquent original music with roots in foundation ballads. Performance variances likely relate to the traditions which they reflect. The four tracks composed by Italian baritone saxophonist Giuseppe Doronzo for the Ava Trio encompass the rhythmic verve expected from the Mediterranean area, which encompasses the Maghreb as well as Southern Europe. Doronzo’s horns include the ney anbān and longar double flute, while his associates, Turkish bassist Esat Ekincioglu and Swiss percussionist Pino Basile, who also plays the frame drums and tamburello, are equally cognizant of that tradition as well as Jazz improvisation.

Although the quartet members on the other CD have titled their session Entre Les Terres or Between the Lands, the lands referred to seem be those whose sounds come from the courtly and pastoral lyricism of northwestern Europe. Compositions are divided between the quartet’s leaders, baritone saxophonist François Corneloup and violinist Jacky Molard, with the other participants, French like the co-leaders, are clarinetist Catherine Delaunay and cellist Vincent Courtois. All have experience in larger or smaller groups with the likes of Héléne Labarrière, Robin Fincker and Ensemble Nautilis. Ava Trio members meanwhile are involved with choreographers, musicians like Frank Rosaly and bands like Turkish Pumpkin.

Despite its use of so-called “unsophisticated instruments”, the Ava Trio doesn’t try for any faux-exoticism. Instead of replication there’s rhythm, with the frame drum’s distinctive timbres adapted to a sort of Hellenic-Arabic swing. As well, although Ekincioglu occasionally outputs saz-like shakes, in the main the tunes benefit from his supple guitar-like strums as well as double bass reverb and pulse. As for Doronzo, flute trills can be as slack or stout as needed, at points suggesting two transverse instruments are in play; while ney squeaks and overblowing on tracks such as “MAZE” intersect with the metal jingles or zills of Basile’s tamburello. But it’s his baritone sax snorts that join drum vibrations and string plucks to confirm the dance-like motion of that composition. Other interludes cannily match near R&B honks and shudders from the baritonist with Basile’s doumbek-like rhythms for a Chicago meets Cairo sound.

“TSAMIKOS”, the lengthy final track may be the most descriptive of the Ava Trio’s strategy. With a cadence that seems half tarantella and half freylekh, its unrelentless rhythm moves forward buoyed by reed yips and drum skin pops and shakes. As tremolo ney nodes intersect with a stentorian bass solo underlined by hard drum accents, Ekincioglu’s subsequent sul tasto string stabs underline the band’s mid-Mediterranean appeal.

If a spice market and seas breezes are suggested by The Great Green, then there’s a whiff of incense and perfume from Medieval and Romantic times propagated by lyric poets and peripatetic troubadours on the land inhabited by the Molard/Corneloup quartet. The band’s make up itself confirms its slant towards chamber improv with a touch of folklore imaginaire. Each of the 10 tracks lean towards euphony and expression, with in the main, harmonic unity superseding untrammeled timbres and most tracks tied up as neatly as a bow on a regal gown.

Except in rare instances, the huffing continuum that Corneloup’s baritone sax is capable of producing is downplayed for airier vibrations. Except on tracks like “Plinn Ar Maro”, the baritone’s thicker vibrations are downplayed. And even there the strings’ jerks and judders preserve the exposition as Delaunay’s spiccato squalls are more prominent than the sailor’s hornpipe suggestions from the saxophone. ”Gwerz D’Autre” is a more straight-ahead instance of baritone saxophone flutters. But here the succulent timbres are mid-range and moderato, giving additional color to the violin and cello vibrations which are truculently harmonic and linear. Choruses of mid-range clarinet glissandi with a vaguely martial air are also present on “Jordi’s March”, which despite its English title is nautical enough to suggest pictures of a Bachi or French sailor’s cap.

Molard’s versatile folksiness has more prominence. On the tile track his pizzicato strokes are mandolin-like, while his arco sweeps almost replicate those of  country fiddling, as they also do on “Red Jig”. But to prove that this is 21^st improvisation not 16^th century replication,  he and the cellist often add dissident slices and jagged spiccato stretches with Delaunay’s light flutters preserving the themes. Meanwhile Courtois’ interpretation rarely emphasizes the metallic and querulous tones he uses in freer settings. Most of the time his slides and shuffles contribute  to the rustic feeling, with moderated drones frequently contrasting with Molard’s  higher pitched vibrations.

Those who prefer their music formal and note perfect with faultless intonation will most appreciate Entre Les Terres. Those seeking more rhythmic stretching will be drawn to The Great Green.

–Ken Waxman

Track Listing: Green: 1. DIDIMA 2. MAZE 3. TIMANFAYA 4. TSAMIKOS

Personnel: Green: Giuseppe Doronzo (baritone saxophone, ney anbān and longar double flute); Esat Ekincioglu (bass) and Pino Basile (frame drums, tamburello and percussion)

Track Listing: Terres: 1. Intime Nomade 2. Red Jig 3. Redite 4. Trois Pieds Pour Une Marche 5. Jordi’s March 6. Erre 7. Rhombe 8. Plinn Ar Maro 9. Gwerz D’Autre Part 10. Entre Les Terres

Personnel: Terres: François Corneloup (baritone saxophone); Catherine Delaunay (clarinet); Jacky Molard (violon) and Vincent Courtois (cello)