Igor Gehenot Trio - EPK

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After the international success of his first release “Road Story” in 2012, Igor Gehenot is back with “Motion”, a second album that confirms the artistic growth of the trio whose sound has become instantly recognisable.

Using the trio format (Teun Verbruggen on drums and Philippe Aerts now replacing Sam Gerstmans on double bass), “Motion” revisits the elements that made the first album so remarkable: romanticism, a lyrical tone, slow – sometimes even minimalist - ballads that contrast with more punchy tracks.

With influences that reach back to pianists such as Melhdau, Jarrett, Paul Bley and Richie Beirach, the new repertoire evokes the journeys that the trio undertook these past two years, notably during the Road Story Tour: from “Santiago” to “Song for Eden”, Igor brings us with him from Chili to Switzerland passing through the landscapes of his native Arlon in Belgium.

"Because of the inherent complexity of the pianoforte there is a tendency among many young contemporary jazz pianists to reflect this in their playing through the application of techniques worked out in the practice room. Gehenot, in contrast, is one of just a few pianists in jazz from whom music flows with a melodic perceptiveness that while resting on technique nevertheless possesses enormous clarity. It is essentially a romantic approach where technical accomplishment is merely a means to greater clarity of expression — for example, the brisk tempo of “Jaws Dreams” on this album never forsakes melodic logic for technical flourish.

Laying yourself bare without resource to technical artifice in this way is a risky business because you can quickly be found out if you have nothing to say, but whether it be one of his own compositions such “Song from Eden” or a ballad you have heard a hundred times before, like “In the Wee Small Hours of the Morning,” Gehenot reveals his increasing mastery of thematic variation, as if each note and every chord has been subjected to prolonged consideration — in the tonal system some harmonies are more discordant than others and Gehenot always seems to select the most expressive ones."
Stuart Nicholson

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