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Rating: Köthen, Saxony, 1717-1723: Johann Sebastian Bach composes the "Brandenburg Concertos" and dedicates them to Margrave Christian Ludwig of Brandenburg.
Paris, France, 2006: At the "Palais des Congrès," the pianist Jacques Loussier begins recording, together with bassist Benoit Dunoyer de Segonzac and drummer André Arpino, his own unique interpretation of those six concertos.
And now, here we are with the finished product in our hands. Jacques Loussier, always interested in finding a perfect "fusion" and reinterpretation of classical music in a Jazz style, seems to have hit the mark, bringing Bach's music back to its immediacy and essentiality. By stripping down the orchestral arrangements and focusing only on the main theme, then leading it to an improbable (for the purists) Jazz improvisation, the pianist immediately makes his intent clear: to pay homage to the German composer, highlighting the versatility of the Brandenburg Concertos and emphasizing how they can be viewed from different angles.
The compositions are not particularly elaborate, they're merely sketches, true improvisations which, precisely because of their simplicity, prove successful. So, here we find ourselves listening to a minimal version of the first 3 movements of the First Concerto that retain only the spirit, the underlying theme of Bach's original music, and not much else. But, after all, this is not a work of pure and simple citation; the passages that take the band from the development of the classical theme to genuine jazz improvisation are really enjoyable and remarkable (thanks to the excellent instrumental cohesion of the trio), and as we listen, we can't help but be captivated.
The composition method, therefore, is the same for all the concertos, except for the fifth. Here the three movements are studied more carefully, not stopping at the surface and essence of Bach's music, but trying, as much as possible, to dig deeper. And even if this is somewhat contradictory to the rest of the album, where the tracks are highlighted in their simplicity, the reinterpretation of the Fifth Concerto is not only particularly effective but also, in my opinion, becomes the album's central and best episode. It's impossible not to be amazed by the meticulous search for a meeting point between the classical theme and jazz improvisation (perfectly achieved) in the First Movement, as in the Second and Third, dominated by the deep-toned bass of Benoit Dunoyer.
Loussier said that "this album brought me back to the heart of Bach's music, to its roots, to its essence," and we can only agree with him, even while remaining particularly enthusiastic about the more elaborate reinterpretations of the Fifth Concerto.
A work that will make Bach purists frown, but which I recommend to those who wish to be pleasantly surprised by this Trio that, with due respect, approached Bach's music, manipulated it, and revealed an entirely new but terribly fascinating side of it.
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