Released March 15, 2024
Unit Records

Emmanuelle Bonnet - voice, composition
Yvonne Rogers - piano
Paul Pattusch - double bass
Lucas Zibulski - drums

Recorded at Jazzcampus Basel, 2022
Recording and Mixing by Raphael Rossé
Mastering by Nicolas Baillard, Studio La Fraiseraie Électrique
Artwork by Julien Dinkel

“Just after Christmas 2023 I traveled for some days to magical Sils Maria, Switzerland, arriving shortly before sunset. It was the early evening of a full moon rising. The sky was still a pale blue with golden clouds forming a majestic shifting canopy above. The colors were indescribable in all their changing shades of light blue to pink-purple-red as the sun slowly retired behind the lake. Behind me a spotlight of a full moon rose between the mountains in a shimmering haze. The strong beam of moonlight accented the mountain tops, outlining their specific forms. Mirrored in the lake the jagged shapes were saved for a short moment, then faded away.

Listening to the music of this outstanding quartet vividly called forth those memories. How original and atmospheric are the interpretations on this unique recording!

Just as my Iphone photos of that passing hour in Sils Maria could not begin to capture the breathtaking natural beauty, it was a similar challenge (although a lovely one!) to find the words to describe these 45 minutes of music.

It is wonderful to hear a recording as a complete sound experience. Emmanuelle Bonnet  leads with her very pure and straight forward vocal performance. What intonation and clarity! Beginning with the words and phrases of the relatively short opener “In The Air”, the listener is drawn into what will become a wordless world of color and improvisation with a perfectly chosen team of players in Yvonne Rogers, piano; Paul Pattusch, bass; and Lucas Zibulski, drums. The short fragments that make up this first composition develop and return to simple. One is left curious about what could follow. The hauntingly beautiful Mal Waldron composition “Left Alone”, continues in a more dramatic way. The lyrics by Billie Holiday tell of loneliness, ask pleading questions, offer hope at the end that life could take a turn for the better, then give in to the fact of being left alone. It is melancholy but strangely comforting at the same time due to the lilting 7 beat, or better, 5 plus 2 beat lullaby-like rocking. The freely improvised B section brings back the “In The Air” mood and when vocals return on “seek and find” it is like Emmanuelle just put the whole recording down to 3 words. The improvisations of vocals, bass and drums passing to piano, bass and drums is especially elegant on this track. Interesting is the vocal high point near the very end of the song on “hearts will open”. I think that will be the case for everyone upon hearing Préludzet Menuet.

In her own words, “I like to say I write music for improvisors”, Emmanuelle herself best describes the rest of her compositions on this album. An array of color and rhythm with emotion and intelligence continue to fascinate with group expression. Each instrument contributes to the unity of Emmanuelle’s miniature ideas which like the shifting clouds and play of light over the lake in Sils Maria, create a constantly changing stratosphere. There are the clear vocal intervals, melody lines with intention, trills, and sparks of short staccato; the very lovely, elegant piano touch and thunderous glissandos; the singing bowed bass and solid foundation bass; the tasteful inventive percussion and wonderful, thoughtful tuning of the drums. There is beautifully phrased vocal melody with bass as in “Menuet”,  exciting fiery rhythm as in “Trut”, and magnificent piano playing and use of space as in “Small Piece”. It’s all in.

The last song, “Or ch`è tempo di dormire”, by Italian early baroque composer Tarquinio Merula (1594-1665) is the epilogue to this recording. It recalls the rocking, lilting expression of “Left Alone”. It has a religious sentiment and brings a strong realization of the passage of time.Time passes. It is so very nice to be alone for a while with this music. I highly recommend.”

 Ann Malcolm, February 12, 2024