Michel Petrucciani
Trio In Tokyo

Have you ever noticed that when the words "In Tokyo" or "In Japan" appear on a live album, masterpieces often emerge, both in jazz and rock? The Japanese audience tends to be attentive and cultured, informed and demanding, but above all RESPECTFUL to the extreme towards the artists! And, when the situation calls for it, they can also be enthusiastically deafening. Their inclination to accommodate the various needs (or whims) of each musician, depending on their personality, probably ensures that the musician themselves give their best and feel "at home" (troublesome musicians like Jarrett, who love to play in Japan - their whims are catered to there without question - often exploit this hospitality!).

This album, recorded in November '97 by the French label Dreyfus, but released posthumously in '99 (the year of poor Michel's death), captures the performance of his trio at the Blue Note in Tokyo. His traveling companions are two old friends, the excellent Anthony Jackson on electric bass and Steve Gadd on drums, with whom he has a telepathic understanding. An extraordinary trio, unfortunately underrepresented on records and endowed with the rare gift of humility.

A special mention deserves to go to Michel's musical world, a world that can be aptly described by the word: "Generosity." Michel has a tremendous passion for sharing, in life as in music; quoting his words: "A lot of musicians have a style that is too selfish. They play only for themselves and for a small lucky elite. I play to give pleasure to others and to communicate." The music starts, and we have the proof! For the entire duration of the album (a little over an hour), the small great pianist plays with simplicity, immediacy, passion, preferring melody over abstraction, fun over staid academism, light over shadows. His touch is pleasantly percussive, sensitive, with crystal-clear clarity, and even when his long phrases become fast, he has the gift of making each note distinctly audible and enjoyable!

His approach is versatile: he is capable of great humor, as in the sixth track, the captivating "Cantabile", where he indulges in an exaggerated number of repetitions of the same four notes that is almost provocative, mocking; it seems to gently poke fun at his very polite Japanese audience, who seem to wonder: "Is he joking or is he serious? Will he never stop with those four notes? What should we do, should we intervene, perhaps he is unwell?"... all very comical! Other times, his romantic spirit prevails, as in the sweet "Love Letter", treated with caring delicacy and lyricism, almost to avoid crumpling the love for the (real or imagined) recipient of that letter. Other moments of great melody (but also rhythm!) are found in "September Second", "Home", and "Colors", the most elaborate and sophisticated track on the album, with pastel shades (unintended pun, I swear). Especially rhythmically, but also melodically, "Training", which opens the album as well as possible, and the fantastic "Little Peace In C For U", where the phenomenal solos of the bassist and drummer take shape; these gentlemen are not very well-known, but they are truly giants! Jackson has this beautiful deep and controlled, gummy sound, if you allow me the term, and he favors the lower register of the instrument in a world of bassists who do not play the low notes. Gadd is, like Petrucciani, a master of time and dynamics; he knows how to perfectly adjust the volume, always plays the right thing at the right time, and when he steps on the accelerator, he is as propulsive as only great drummers can be. His use of the kick drum, in my opinion, is unique! Returning to Michel, it is noteworthy that all the album's tracks are his compositions, demonstrating his talent as a refined author; the only exception is the last track, a surprise "So What" reminiscent of MilesDavis-KindOfBlue, which receives an initially intimate, then rhythmically dragging treatment. Modal improvisation touches peaks of high creativity, in my opinion worthy of the original masterpiece.

Final note: this album is used by many audiophiles to test the validity of high-fidelity equipment - it means it is RECORDED AMAZINGLY! The piano has never been captured better. A magnificent sound...