Reviews that mention Bruno Chevillon

February 3, 2020

Yves Robert/Bruno Chevillon/Cyril Atef

BMC CD 269

John Yao’s Triceratops

How We Do

See Tao Recordings 003

Heinz Geisser Ensemble 5

The Collective Mind Vol. 2

Leo CD LR 858

Consisting of improvisers from three individual countries, the quintet, quartet and trio programs featured here have two instruments in common and equally credible systems of aligning trombone and drum structures with other instruments. While tracks range from the lengthy to the terse, the sounds invoked depend on intuitive connections that don’t always gel. New York-based trombonist John Yao’s Triceratops is fully in the Jazz mainstream, with his compositions depending on blends among his horns the saxophones of Billy Drewes and Jon Irabagon, Peter Brendler’s bass and Mark Ferber’s drums. Broadened with electronic synthesis, the French trio of trombonist Yves Robert, electric bassist Bruno Chevillon and drummer Cyril Atef spreads its acoustic and progressed textures over the tunes on its CD. Meanwhile the all-Swiss Ensemble 5 – trombonist Robert Morgenthaler, pianist Reto Staub, bassist Fridolin Blumer and percussionist Heinz Geisser – weds its extended techniques to exclusively acoustic playing. MORE

August 26, 2016

Yves Robert Trio

BMC CD 228


MM Squared Session

Creative Sources CS 306 CD

Like a florid rodeo clown who only reveals the true purpose of his job as a paramedic if necessary, a trombonist’s ability to express broad emotions with his horn often masks the instrument’s cerebral ability. But without eschewing the brass instruments connective and conceptive role, the trombonists here – a German trombone duo and a French technician leading a bass and drum trio – demonstrate the instrument’s sonic elasticity. MORE

February 11, 2015

Orchestre National de Jazz

Europa Paris
On Jazz Records 24444

Taking France’s prestigious Orchestre National de Jazz (ONJ) in a new direction, plus dealing with a complete change in personnel, is the ONJ’s new artistic director, composer and guitarist Olivier Benoit. Know for experimental small group work as well as writing for and sometimes playing as part of large ensembles such as La Pieuvre and Circum Grand Orchestra, Benoit is certainly no one to pursue a course of reinterpreting so-called Jazz classics. This sprawling six-part, two-CD magnum opus demonstrates this handily. Ambitious, Europa Paris is designed to paint a sonic portrait of the city of light via the solo and interactive skills of the 11-mmber ensemble. MORE

August 1, 2014

Festival Report

Jazzdor-Strasbourg-Berlin 2014
By Ken Waxman

The KulturBrauerei’s music space Kesselhaus in East Berlin was a fitting site for the eighth annual Jazzdor-Strasbourg-Berlin (JSB) festival June 3-6. With jazz and improvised music’s universality now a given, a festival presenting mostly French jazz taking place in what had been one of Berlin’s oldest breweries, now repurposed from industrial to artistic use, doesn’t seem that much of a stretch.

Overall its all-inclusive musical theme was confirmed by the programming of JSB’s artistic director Philippe Ochem and his team, which already host Strasbourg’s annual Jazzdor festival. Over four nights, JSB presented musician from different parts of Germany, Belgium and the US plus proudly delineated Basque and Corsican players, all of whom worked with improvisers from France’s major musical centres. MORE

February 16, 2014

Samo Šalamon Quartets

Stretching Out
Samo Records No #

One of Slovenia’s two internationally known jazzmen – (the other? percussionist Zlatko Kaučič) – guitarist Samo Šalamon has developed an elastic musical persona adaptable to many situations. Recorded four years apart, the sessions that make up this two-CD set highlight his so-called American and European quartets. While there is much good work throughout, the superiority of the eight 2012 Continental tracks over the three 2008 U.S. ones, confirms the truth of the old adage, which in this case would be “you can take a musician out of southern Central Europe …” MORE

August 1, 2012

Bruno Chevillon/Tim Berne

Old and Unwise
Clean Feed CF 221 CD

Tim Berne


ECM 2234

After keeping a low profile of late, working mostly as sax-for hire in co-op bands, New York alto saxophonist Tim Berne asserts himself more conspicuously with these revealing projects. Old and Unwise is a set of unvarnished improvisations between Berne and French bassist Bruno Chevillon. Recorded seven months later, and his first studio date in eight years, Snakeoil introduces a new Berne combo, which tellingly doesn’t include a bass player. Instead Berne’s alto forays are harmonized with Oscar Noriega’s clarinet and bass clarinet, Matt Mitchell’s piano and Ches Smith’s drums. MORE

February 17, 2011


Venice, Dal Vivo
D’autre Cords doc 5005

Diatribes & Barry Guy


Cave 12 Orchestra 1 c12 o 01

With advanced rock-influenced and so-called noise musicians increasingly adding free improvisation to their programs, a new hybrid is being showcased. At the same time the amount of sonic clamor added means that any resulting interpretation has to negotiate a fine line between incoherence and inventiveness. Although the volume of these sessions is somewhat stentorian, and their coherence sometimes spotty, the cleverness of the participants involved helps avoid major pitfalls. MORE

September 23, 2008


Soffio di Scelsi
La Buissonne RJAL 397005

Combining his interests in both notated music and jazz-based improvisation, French clarinetist Jean-Marc Foltz organized this CD as homage to enigmatic Italian composer Giacinto Scelsi (1905-1988).

Preoccupied in his later life with compact expression, Scelsi’s body of work was absorbed by ostinato formations that incorporated clusters, resonance effects, subtle harmony, toccata structures and note repetition. Soffio di Scelsi, translated as “a breath of Scelsi”, showcases 14 miniatures that sift the Italian composer’s leitmotifs into sonic expansion that takes into account non-European expressions. MORE

March 6, 2006

Jean-Marc Foltz/Bruno Chevillion

Cette Opacité
Clean Feed

Anthony Burr & Skúli Sverrisson
A Thousand Incidents Arise
The Worker’s Insitute

By Ken Waxman
March 6, 2006

Should two more divergent methods exist of organizing a bass clarinet–double bass interaction, then they’re probably not terrestrial.

Utilizing electronic processing in some way on the four tracks of their CD, Icelandic bassist Skúli Sverrisson and Australian clarinetist Anthony Burr seem intent on burying the customary textures of their instruments. In contrast, bassist Bruno Chevillion and clarinetist Jean-Marc Foltz, both French, intensify the wood, string and metal construction of their chosen implements to emphasize tones, unaltered with adds-ons. MORE

August 30, 2004


Itineraire Imaginaire
Sketch SKE 333042

L’Anima Di Un Uomo
Splasc (H) CDH 858.2

Program music that could be the soundtracks for journeys, real and fanciful, characterize the music on these CDs composed by vastly different European pianists.

Leading a sextet, Paris-based Stéphan Oliva’s ITINERAIRE IMAGINAIRE vaults between the sounds of his two greatest influences, Bill Evans and Lennie Tristano. With 13 tracks that offer up his version of escapist romanticism, this imaginary itinerary takes in the filmic territory inhabited by movies like Claude LeLouche’s “A Man and a Woman” and Jacques Demy’s “The Umbrellas of Cherbourg”. Imagine a post-modern Gallic twist on Cool Jazz. MORE

January 26, 2004


The sublime and. Sciencefrictionlive
Thirsty Ear RHI 57139.2

Qui parle?
Sketch SKE 333038

Leaving well enough alone has never had particular appeal to those involved in creating electrified jazz/rock fusion music. Why keep the volume control knob turned to nine when it can reach 10? And why play for a few minutes when a half-hour or so is available?

Alto saxophonist/composer Tim Berne -- who has proven his talents in many situations ranging from working in standard-size jazz combos to writing for a classical sax quartet -- flirts with excess on this two-CD set, recorded live in Switzerland. While he and drummer Tom Rainey stick to acoustic instruments, the allure of showing off the textures available from Marc Ducret’s guitar(s) and effects and Craig Taborn’s electric piano, laptop computer and virtual organ evidentially prove too seductive. Although in total the Science Friction band session clocks in at 109 minutes, it includes three tunes in the 20-minute range and one that rocks on for more than 30. MORE