Stephane Wrembel, Photo: Lawrence Sumulong
Widely regarded as perhaps the preeminent contemporary interpreter of and advocate for the music and approach of Django Reinhardt (1910–1953), New York area–based French jazz guitarist, composer, and teacher Stephane Wrembel has really outdone himself with his latest project, a three-album release called Triptych Phase I , Phase II, and Phase III .
Stephane Wrembel and Jean-Michel Pilc, Triptych Phase I
Of course, Wrembel has always been much more than just a Djangoiste, so the high quality of his writing and the variety of styles he tackles will not be a surprise to his many fans. Nor will the exceptional standard of his supporting musicians on this magnificent ensemble record. Joining Wrembel in the studio were, depending on the track, his current second guitarist Josh Kaye or previous holder of that slot, Thor Jensen; the rest of his rhythm section—upright bassist Ari Folman-Cohen (Eduardo Belo appears on three tracks) and the fabulously creative drummer Nick Anderson; plus, on nearly half the tunes, Nick Driscoll on high reeds (clarinet, soprano sax, etc.); and, most prominently, acclaimed pianist and composer Jean-Michel Pilc, a fellow Frenchman (and current resident of Montréal).
Indeed, the prolific, incredibly expressive pianist is more than just a special accompanying guest here. He’s on all 20 tracks, sharing the solo spotlight with Wrembel and the others—everyone gets multiple chances to shine. Pilc contributes two solo improvisations; performs a third written by Wrembel (who got his start as a pianist); plays a pair of new group pieces; and also duets with Wrembel on Triptych III’s lovely concluding opus, “Life in Three Stages, Part III: Old Age, Grace and Wisdom.” He clearly shares Wrembel’s love of melody and interesting and at times unusual harmonies, as well as the guitarist’s unpredictable, adventurous spirit. The telepathy among all the players is remarkable.
Stephane Wrembel and Jean-Michel Pilc, Triptych Phase II
Wrembel fans expecting a few Django excursions will be happy: five of his tunes are scattered across the three albums, including the ubiquitous but always welcome gypsy-jazz classic “Minor Swing” (with astonishing solos from Wrembel and Pilc); the similarly swinging “Pêche á la Mouche”; the beautiful ballad “Anouman”; “Douce Ambiance,” which opens with a propulsive rhythm that reminds me of Pink Floyd’s “Interstellar Overdrive” before dropping deftly into the Django tune; and the always exciting, rhythm-thumping “Flèche d’Or.”
But most of the pieces are new compositions by Wrembel or Pilc (a couple are older works by Wrembel), and their stylistic range is immense—even within each tune. You never know when a gloriously melodic solo will suddenly give way to temporarily jarring dissonance from Pilc or sharp, angular shredding from Wrembel. (I thought of Frank Zappa in a couple of places.) Or a unison passage dissolves into subtle, trance-inducing bass and/or drum excursions for a spell. Or Driscoll’s sax or clarinet dances elegantly above the fray.
Stephane Wrembel and Jean-Michel Pilc, Triptych Phase III
I hear a lot of Spanish influence in a few of Wrembel’s pieces—and by extension some Middle Eastern flavors. There is plenty of air in all the arrangements, allowing every voice to be heard clear as day, whether soloing or not. And when the spotlight moments then coalesce back into group passages, as they often do, it’s pure magic: the group mind at work.
As for the guitars, Wrembel plays models made by Oregon luthier Bob Holo; and Thor Jensen and Josh Kaye use axes made by Jerome Duffell. Both luthiers specialize in gypsy jazz instruments. (Jensen also plays a Fender Telecaster on one tune.)
The three albums of Triptych are available individually or as a group. I recommend the latter, to hear the full range of this project. In an interview earlier this year, Wrembel described Triptych as “my masterpiece.” I heartily agree.
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