There’s nothing sensible about this on the face of it, as the band promote their music as “free jazz, avant-prog”, or as the editor said “screamy sax in squat madness” As they’re French, the sensible would translate as “sensitive” maybe like the feel of velvet and as “velouté” means “velvety” that’s possibly not a bad call.
In my mind I had erroneously envisaged something along the lines of Akphaezya or Carnival in Coal, certainly something theatrical and eccentric – creative would be another word for this. Edredon Sensible set their stall of self-proclaimed “screaming afro trance” by being formed of two saxophonists and two percussionists, or if you prefer, two percussionists and two saxophonists. So let’s play. It’s party time. The rhythm is hypnotic. The saxophony is wild. As I listened to the antics of “FRCX Prout”, I reflected that on account of its vibe this album would go next to The Brass Funkeys in my collection. It’s jazzy, it’s free but it has rhythm and oodles of energy. The start of “Just a Lovely Walk in the Sky” could be called “The Sound of a Life Support Machine in Jazz”. Unlike “FRCX Prout” it has a more sinister thread. The saxophone winds its way snakily and mysteriously before the whole tempo is upped 6 minutes in and the manic afro trance carnival is in full flow. By contrast solitary saxophony is a melancholy thing, and so begins “Blirprulre”. It’s like a bird calling in the dead of night. The afro rhythm kicks in. The saxophonist blows in and out discordantly. It’s hypnotic, but I can’t say this repetition led me to joy. I was waiting for something to happen. 7 minutes in, the skies darken and “Blirprulre” treads forwards weightily, before ramping up in anarchic fashion. Strange. “String et Bermuda” has a beat which reminded me of Arco Iris, the local community samba band here in Cambridge. As we sway from side to side from that, the saxophonists tread their mysterious path. Once again repetitious, it develops into a final instrumental screaming frenzy. “Jus d’Abricot” (Apricot Juice) comprises seven minutes of drip feed before bursting into colour and rhythm for the final five. “Roli Poli Oli, Mini Malin Tout Rond” has the beat of a fast-running grandfather clock. The saxophone snakes its way through the ringing sound. Now the drum is banged hard and ominously. Strange sound squeak from the wind instrument like animals in a forest. It works up into an Arabic-sounding crescendo. It’s atmospheric but where it came from and where it was going is anyone’s guess as it stops abruptly.
Jazz is the genre but it’s not of the moody sort. The beat sees to that. It’s mysterious and experimental but not at the expense of fun, intrigue or creativity. “Vloute Panthère” won’t be to everyone’s taste, and the sheer repetition made me wish it would move on a bit at times. I found interest and enjoyment in its vibrancy but I can’t claim I was always engaged with this 50 minute adventure.
(6.5/10 Andrew Doherty)
03/08/2021 at 8:56 am
Thank you very much for the review !
Bisous de Toulouse