Jacky Terrasson
Alive

Jacky Terrasson is a young French pianist (thirty-seven years old, as of now) who has been part of the Blue Note label for a few years: after a long apprenticeship in the international jazz circuit, in '92 he began recording as a main artist, and then joined Blue Note just two years later, thanks to apt and necessary recommendations from artists with whom he had collaborated. The CD in question is a live from 1997. Normally, a live performance can be an insurmountable challenge for musicians 'engineered' in a studio; however, for a jazz musician, it represents the natural space-time allocation, leading to a final result that's almost always more immediate and enjoyable compared to a studio album. This case is no exception to the rule, and you can fully appreciate the kaleidoscopic way in which Terrasson, who is hardly attributable to any specific school, handles the sonic material under discussion. On double bass and drums, two solid musicians perfectly attuned to the concept: Ugonna Okegwo and Leon Parker, who seamlessly support Jacky, both in offering mere rhythmic backing (occasions of intense and omnipresent pianism on the sound plane) and in taking the lead when needed: plenty of space is left for the two supporting players to contribute 'creatively', particularly for the double bass. The two musicians in question have now become... "family", as they have been with Jacky for a long time in a continuous and osmotic way, musically speaking. Personally, I saw Terrasson live in '94 while he accompanied Betty Carter, and I have kept his name etched in my memory ever since, because he not only played his part as an accompanist, but impressed everyone with rare mastery. This is simply to state that he is not just another good pianist, but a standout protagonist who MUST necessarily be known by those who love this music. I read somewhere that one of the identifiable models for Jacky might be Ahmad Jamal, but I'm personally not too convinced: it is truly difficult to find a reference for a pianist who in addition to playing original "his own", moves in thirty seconds from very high sound volume and a series of continuous note and chord progressions to an absolute rarefaction of notes and concepts, yet with music always well present and alive. To discover and discuss together. While I await his latest Smile (Blue Note 2002), reflecting on this 'Alive' brings a couple of observations to share with friends:

1. 'Things Ain't What They Used To Be’ presents a nearly Monk-like tempo, with ample spaces and pauses; notes are allowed to fall for the benefit of a sleek structure. More distilled phrases than continuous ones. Bass in full evidence and interaction.

2. 'Cumba's Dance’ is a cyclone in progress; major positions and Latin positivity. It starts slowly, on a rumba tempo, to grow into an accelerated and orgasmic final explosion. (Audience in delirium).

3. 'Sister Cheryl’ here you need to turn up the volume control to understand what is happening at the beginning among the three: some hinted notes, a whispered base, and note tails in evidence until the piece slowly takes shape. Unexpectedly romantic melodic development, very strong central volume, and a subdued fall at the end. Beautiful! Very Mehladau.
    
4. 'Simple Things’ is a slow and romantic ballad to enjoy with the utmost concentration: here the sound quality of the mix among the three instruments and the timbral characteristic of each is fully highlighted.
 
5. 'Nature Boy’ represents the treatment of a standard according to indeed unusual canons. Obstinate bass pedal until the end for palpable expressive tension. The highlight of the album? Among so many, I truly couldn't choose. Again: you cannot define where 'the alien’ Terrasson comes from.
   
6. 'Love For Sale’ until halfway through the piece... is not there: instead, there are a series of jokes between bass, percussion, and piano that only lead to a very rarefied and condensed final development of the theme, which will explode in a syncopated and original way. Absolute intelligent interaction within the group, with unusual solutions: see the quotation of Chameleon by the bass and listen to how the piece ends to believe!!!
   
7. 'Fog Taking Over Noe Valley’ is a piece made obsessive for about half its duration, between the piano and bass repeating the same notes quickly, sometimes in sync, sometimes counter to the hi-hat, to allow the drummer to build his solo; then the double bass intervenes; only towards the end do you hear the pianistic construction. But it works perfectly this way: you realize it afterward. Incredibly talented.

8. 'The Theme’ is a very brief and engaging swing that nicely breaks the overall scenario and prelude to a very unusual ending. Normally, the closure is 'in glory', but here...

9. 'There's No Disappointment In Heaven’... is a direct line from the artist's heart (at solo piano) to yours, laying your soul bare. You have no defenses. A gentle caress on your head. We all need caresses: if no one gives them to you, listen to this track: one of the most touching things you will ever hear.

Excellent performance, Terrasson: personally, I thank you for existing and recommend friends discover this wonderful and personal artist. Bravo!!!