Grand Pianoramax @Festival Jazz Onze+ (Lausanne)

Grand Pianoramax_300dpiDescribed in terms such as “power trio”, “supergroup” and “heavyweight”, Grand Pianoramax easily testify to being greater than the sum of their parts. The deceptively skimpy lineup of keyboards, drums and rapper belies the aural magic monster that lurks beneath the surface.  Elegant piano/rhodes, razor sharp drums and urban-edged rap/poetry jostle and come together to create a fiery fullness of sound that has become their distinctive trademark since the band’s inception in 2008.

A rich, emotive soundtrack that already hints at the light and shade which is to follow

Tonight, the Jazz Onze+ crowd are warm and receptive towards their errant Swiss son, keyboard maestro and band leader Leo Tardin, who has over the years immersed himself in foreign locations such as New York and Berlin to develop his sound until recently relocating back to his native Geneva. Much of tonight’s tracklist comes from the latest Grand Pianoramax LP, “Till There’s Nothing Left”, released on ObliqSound last spring and is met with appreciative familiarity indicative of an audience who’s been paying attention.

The skimpy elements are eased in gradually. Leo seduces us gracefully with “Firefly”, a captivating and melodic solo start on the piano, creating a rich, emotive soundtrack that already hints at the light and shade which is to follow.
Joined on stage by drummer, Dom Burkhalter – a modernist fist in an iron glove –  the friendly duel quickly evolves between the two main musical elements, at times rolling around happily side by side, other times in stark stylistic contrast to one another as though wanting to stretch the listener’s awareness to its fullest capacity.

Two herculean pillars laying down a spectacular multi-textured foundation…

The play-fighting relationship between keyboards and drums is what underpins the essence of Grand Pianoramax, two herculean pillars laying down a spectacular multi-textured foundation on which the third element, Black Cracker, can nimbly unleash his craft of language and movement. This Alabama wordsmith and charismatic agent provocateur forges an agile bridge between the audience and the stage, bringing things down from a powerful sonic ride to a more urban, earthly, NYC dimension using rap, poetry or song.

In common with each track is a strategic sense of rise and fall, density and space. It’s an occasionally challenging but always engaging journey. The rhythmic patterns and shapes vary from mercurially dark (“Cry Alone”, “Runaway”, “Have You ever Seen”) to quirkily funky, bouncing along like De la Soul meets Michel Legrand (“Nights Turn To Days”), and hard-edged urgency complete with strobe lights (“Call it Like You See It” and “Roulette”).

In the case of Grand Pianoramax, less is definitely more

An effortless cohesion of threads coming together is felt during ‘Till There’s Nothing Left’, their most radio-friendly hit, a subtle suggestion that crossover to commercial polish is possible if so desired. ‘The Hook’ provides the encore, a track remixed by DJ Spinna and put out on vinyl a few years back, an example of what can work well in a club setting as through the headphones of the rap enthusiast or jazz muso.

It’s a consummate work performed by heavyweights in their field. Honed down talent and acumen has produced an act that can adeptly bend styles and cook up a rhythmic frenzy on only three burners. In the case of Grand Pianoramax, less is definitely more.

Grand Pianoramax played @ Festival Jazz Onze+ in Lausanne on the 31th of October

Grand Pianoramax, Till There Is Nothing Left, (Obliq Sound)

La mue de Grand Pianoramax

D’un duo constitué de Leo Tardin et Dominik Burkhalter se produisant souvent avec Black Cracker , Grand Pianoramax s’est transformé en trio avec les mêmes intervenants. La nuance peut sembler légère, mais à les voir sur la scène du festival de la Cité vendredi soir sous une pluie fine qui mouille, elle prend tout son sens. Les trois amis fonctionnent désormais comme un vrai groupe, organique qui se nourrit des apports des uns et des autres. Et non plus seulement comme un projet dirigé par Léo Tardin. D’ailleurs celui-ci a tombé le costard. Il lui préfère une tenue plus décontractée (jeans et pull) et les cheveux en bataille. La musique aussi est devenue plus douce plus subtile, les synthétiseurs ne sont plus seulement un rempart de sons, mais égrènent désormais des mélodies un brin nostalgiques « Nous avons décidé de revenir à quelque chose de plus sensible, plus émotionnel, je joue désormais beaucoup plus de piano Rhodes » explique Leo Tardin au sortir de la scène. Au duel avec la batterie de Dominik Burkhalter, il préfère également jouer la carte de la complicité. Le flow de Black Cracker semble lui aussi plus fluide, plus soft. N’oublions pas que si le projet solo du rapper new-yorkais est assez hardcore, il s’est fait connaître à l’origine dans les milieux du spoken word. Cela se sent. Grand Pianoramax pourrait être la réincarnation de Jazzmatazz en 2012. Non pas tant au sens strictement musical, mais par sa vision du jazz, pas son modernisme, par sa capacité à faire table rase et à tout recommencer. Un nouvel album est prévu en 2013. Et un concert est encore prévu au Parc de la Grange à Genève dans le cadre de Musiques en été, le 25 juillet avec en invité spécial le chanteur de soul de Chicago Jesse Boykins III.

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