Refocus Sylvain Rifflet
Album info
Album-Release:
2017
HRA-Release:
15.09.2017
Album including Album cover Booklet (PDF)
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- 1Night Run03:52
- 2Rue Bréguet04:35
- 3Another 'From C'03:37
- 4Harlequin On The String04:17
- 5Egyptian Riot06:08
- 6Echoplex05:06
- 7Une de perdue, une de perdue04:45
- 8Le kinétoscope04:55
- 9Hymn04:30
Info for Refocus
Stan Getz' Verve-Album „Focus“ von 1961, mit der ungewöhnlichen Besetzung eines Saxophonisten plus Jazztrio und Streichensemble, gehört längst zu den Klassikern des Jazz. Zu seinem Erscheinen galt das Album noch als unverkäufliches Wagnis, heute wird es immer wieder neu aufgelegt und hat zahllose Fans unter Musikern wie ganz normalen Hörern. Stan Getz bezeichnete es einmal als eigene Lieblingsaufnahme.
Der französische Saxophonist und Filmkomponist Sylvain Rifflet wagt auf seinem Verve-Debüt jetzt eine Weiterführung des Albums mit eigenen Mitteln. Weder nimmt er hier die Titel des Albums neu auf, noch versucht er sklavisch Stan Getz zu imitieren. Dennoch gelingt ihm ein Meisterwerk, das es mit der Spannung und Atmosphäre des Vorbildes absolut aufnehmen kann. Stan Getz wäre sicher begeistert von seinem französischen Verehrer.
Sylvain Rifflet, Saxophon
Simon Tailleu, Kontrabass
Guillaume Lantonnet, Percussions
Appassionato Ensemble und Stringquartett
Mathieu Herzog, Leitung
Local Stringensemble
Mathieu Herzog, Leitung
Sylvain Rifflet
Ever since he was a teenager and his discovery of Stan Getz‘ legendary album Focus, Sylvain Rifflet had dreams of making a record that would revisit the same format, and give new impetus to the saxophonist’s very successful blend of classics and jazz. It was an ambitious project, but also an opportunity which Verve has now provided.
Steeped in the spirit and methods of the album that Verve originally released in 1961, Sylvain Rifflet presents us with Re-Focus: a rewriting of Focus, a tribute to two elders he admires, and simultaneously a faithful reflection of Rifflet’s own universe. A new ambitious step in Rifflet’s musical career which affirms his genius.
In 1961 with Focus, composer Eddie Sauter has written his name into the “great classical composers” tradition, when he proposed a kind of “real” concerto except that, jazz oblige, the part that fell to soloist Stan Getz, who had commissioned the piece, was not only performed by him, it was improvised.
The 20th century was marked by a new rivalry between, on the one hand, written scores (to which the majority of classical composers continue to have recourse), and on the other hand, recordings (that particular process whereby improvisers leave a trace of their work for future generations). The two approaches, which are in no way contradictory, were reconciled when Focus appeared in 1961. The marriage between stave and disc, classics and jazz, paper transcriptions and what philosopher and cultural critic Walter Benjamin called “mechanical reproduction” couldn’t fail to fascinate Sylvain Rifflet, laureate of the 2016 “Victoire de la Musique” for his album Mechanics. To date, Sylvain continues to defend the influence of classical music on his work.