Zachary Breaux
Groovin'

THE REVIEW

In possession of an enviable guitar technique, Zachary Breaux was an artist who unfortunately went almost unnoticed in our parts.
His sincere, clean music, rhythmically close to the funky style, always very elegantly structured, should be remembered for the lucidity with which it flowed, humble but never subdued, from the fingers of the colored Texan.

This live recording from 1992 at Ronnie Scott's Jazz House, which includes a piece by Coltrane (Impressions) and one by Tito Puente (Picadillo) in the track list, is exemplary in my opinion to savor Zachary's stylistic refinement and discover his passion for pursuing sounds that are never intrusive but incisive, always sweet even in the context of sometimes frenetic rhythms (definable as post-bop rhythms).

A great touch, a tremendous sound that doesn't need particular equalization on the stereo: as Folle says "...put everything flat and listen to the sound he created..."
Thank you, Folle, for passing me this record: I will listen to it endlessly. Thanks to NYC Records for distributing this jewel in grand style. Thanks to all those who will be influenced by my words and will try to find it. I doubt you'll manage to find it easily, if not by more or less... legal means! (ehmmm...)

This album is the first with which Zachary attempted a solo career, after spending two decades playing with various artists like Donald Byrd, Jack McDuff, Noel Pointer, Brook Benton. In his solo performances, he unfolds the various styles usable in a fairly traditional jazz context, and shows us how right it is to always subordinate technique to the needs of melody. Melody of rhythms.

A record that is always very, very elegant: enjoy the music and groove.