Martiniquan pianist Grégory Privat reveals in his new album of music, Family Tree, the subtle links between the Caribbean trove of rhythms and melodies and the grand vocabulary of jazz. Supported this time by bassist Linley Marthe originally from Mauritius and fellow Martniquan Tilo Bertholo on drums, Privat with his fluid playing centres the idea that the roots of jazz are firmly planted in the Caribbean creole culture that was present at the genesis of jazz. The music finds inspiration in the beguine, the bèlè and gwoka of his native Martinique and Guadeloupe. Bassist and drummer Marthe and Bertholo respectively, despite their creole backgrounds, evince the African DNA of the new world rhythms that a Caribbean perspective has produced. Privat is a fine musician with solid classical and jazz training who on this album finds the core impulse of a iconoclast to dynamically paint anew the heritage and beauty of jazz that is found in these Antilles.
Double Take Elan Trotman's Tropicality
(Island Muzik Productions)
“First impressions are the most lasting,” is a popular proverb that makes the case for a grand debut to cement a perfect memory. Well, certainly not this time as Barbadian saxophonist Elan Trotman has recast a number of his previously released songs from his many years as a recording artist and given them a second look, a double take if you will. He has refreshed the sound and arrangements of his Caribbean-rhythm infused smooth jazz to make them shine through—to Caribbean ears at least—with the positioning of the steelpan in a more forward position. His vocals on Bill Withers' classic “Lovely Day” are direct and make one smile at the simple charm of this song. “Tradewinds” is the antithesis to a dull day in the tropics; lilting and easy to dance to. His band of fellow Berklee College of Music alumni, Tropicality, has the musical chops to make this new impression far from diminished.
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