COLIN VALLON – Still & Silent Places
The trio format is a
tried and tested line-up for performing jazz and improvised music, with
piano-bass-drums perhaps historically being the most prolific. However far from
being a spent force, the piano trio continues to develop and even re-invent
itself with new generations of players exploring the freedoms permitted, and
building on the rich legacy left by their predecessors.
One such aggregation is the trio led by Swiss pianist Colin Vallon, who have recently released their second album for ECM, Le Vent, and who look to inhabit new spaces within their chosen medium.
Although perhaps a relatively new name to many, Vallon has been leading his own bands since 1999 (when aged just nineteen), and a trio with bassist Patrice Moret since 2004, and thus brings a considerable amount of hard graft and dedication that is in evidence in the new recording.
In the three years between the trios debut album for ECM, Rruga in 2010, and Le Vent there is a considerable development in the mood of the album and the way the trio function as a unit. So it has been interesting to discuss with the pianist how he perceives the changes and how the unit have forged such a tight knit unity and bond. As Vallon explains, “I have the feeling it became more personal and more consequent in the dedication to the mood or atmosphere of a piece.”
This ‘dedication to the mood or atmosphere of the piece’ brings with it a completely new feel to the music performed, especially in the relationship with the drums. So is this something that has consciously been worked on or that has developed naturally with the trio’s new drummer, Julian Sartorius? “I don’t think it was a conscious development. Samuel Rohrer who played on Rruga) and Julian have very different musical personalities which have a very powerful influence on the trio’s sound. Where Samuel’s drumming was more expressive, Julian’s playing drives the band from the back with a very inspiring energy.”
One such aggregation is the trio led by Swiss pianist Colin Vallon, who have recently released their second album for ECM, Le Vent, and who look to inhabit new spaces within their chosen medium.
Although perhaps a relatively new name to many, Vallon has been leading his own bands since 1999 (when aged just nineteen), and a trio with bassist Patrice Moret since 2004, and thus brings a considerable amount of hard graft and dedication that is in evidence in the new recording.
In the three years between the trios debut album for ECM, Rruga in 2010, and Le Vent there is a considerable development in the mood of the album and the way the trio function as a unit. So it has been interesting to discuss with the pianist how he perceives the changes and how the unit have forged such a tight knit unity and bond. As Vallon explains, “I have the feeling it became more personal and more consequent in the dedication to the mood or atmosphere of a piece.”
This ‘dedication to the mood or atmosphere of the piece’ brings with it a completely new feel to the music performed, especially in the relationship with the drums. So is this something that has consciously been worked on or that has developed naturally with the trio’s new drummer, Julian Sartorius? “I don’t think it was a conscious development. Samuel Rohrer who played on Rruga) and Julian have very different musical personalities which have a very powerful influence on the trio’s sound. Where Samuel’s drumming was more expressive, Julian’s playing drives the band from the back with a very inspiring energy.”
The pieces on Le Vent
have a very open feel about them and allow plenty of room for improvisation,
but also retain a very structured sense of form as if through composed. “I try
to write as honestly as possible and it comes out often as very simple melodies
or forms” explains the pianist. “Sometimes it can also be a more complex
composition as in ‘Pixels’ But I definitely try to not over-arrange the pieces
to let a maximum of freedom in the playing. The arranging process is a
collective work and happens in the rehearsal.”
On both albums it is interesting to note that the opening tune is composed not by yourself but by Patrice Moret. Is this just a coincidence or deliberate choice? “Both! It happens that Patrice Moret writes all the trio’s hits! But it is also a deliberate choice in order to connect both albums since ‘Telepathy’ from Rruga and ‘Juuichi’ on the new recording share a trance-like hypnotic quality which is a strong element of the trio’s music.”
The two concluding titles on Le Vent, ‘Styx’ and ‘Coriolis’, are credited to all the three musicians and are freely improvised. So I is this an area that you are looking to explore more with the trio?
“Yes I think so. Free improvisation has always been another strong element of our sound. Until now, it was mostly integrated in the compositions but lately we also have free improvised spaces in the concerts.”
On both albums it is interesting to note that the opening tune is composed not by yourself but by Patrice Moret. Is this just a coincidence or deliberate choice? “Both! It happens that Patrice Moret writes all the trio’s hits! But it is also a deliberate choice in order to connect both albums since ‘Telepathy’ from Rruga and ‘Juuichi’ on the new recording share a trance-like hypnotic quality which is a strong element of the trio’s music.”
The two concluding titles on Le Vent, ‘Styx’ and ‘Coriolis’, are credited to all the three musicians and are freely improvised. So I is this an area that you are looking to explore more with the trio?
“Yes I think so. Free improvisation has always been another strong element of our sound. Until now, it was mostly integrated in the compositions but lately we also have free improvised spaces in the concerts.”
Much of the interest in your work is hearing how you subtly guide
the musicians through the compositions whilst still allowing plenty of space
and freedom within the structure. No stranger to this role you have spent much
time leading a trio, recording your first trio album Les Ombres in 2004. Do you feel that this is perhaps your natural musical
setting? “Yes it is. Sometimes I wonder if another formation less explored
could sound more original but in the end, I think that the combination of
instruments has nothing to do with the originality. I love trying to explore
further the possibilities of a trio and each time I play with Patrice and
Julian, I think it could go on forever.”
You have said that you have been influenced more by vocalists than other pianists. Can you explain this a little more? “I have always been moved the most by vocal music (and especially choral music). Nothing like a voice can go directly under your skin. It is the most direct, rich in timbres and original sounding instrument, qualities which are difficult to achieve on a piano. Actually, in my opinion one must always have another instrument or sound in mind in order to obtain a personal tone on the piano. In my case most of the time I hear a voice or voices when I play.”
Can you tell us a little about your formative influences, and how you began your musical journey? “When I grew up classical music was playing most of the time at home. There are a few albums of the family’s discotheque not belonging to this genre that somehow influenced my early years somewhat more. I especially remember Eroll Garner’s piano playing, Zamphir’s pan flute and the South African choir Ladysmith Black Mambazo. And there was a piano at home whose keys I apparently always tried to reach as soon as I could stand. When I was 10, I started classical training but always played the tunes by hear and so never learnt to read music. After a couple of years I quit classical lessons when my teacher discovered the fraud and I started to play the blues for myself. I was fascinated by the fact that you could actually make music without a score… I then studied Blues and Jazz with Marc Ueter an excellent teacher in my hometown Yverdon. By that time I was 14 and
I would already spend hours at the piano improvising freely and compose songs. It was then already clear that music would be in the center of my life. I listened to Oscar Peterson, Bill Evans, Nirvana and Cypress Hill with equal passion. I then enrolled in Bern’s High School of Arts where I founded my first Trio at 18 years old. My original idea was to play standards like my jazz idols that were Keith Jarrett and Brad Mehldau but gradually my compositions replaced them in the repertoire and the band sound took a more personal turn!”
And finally, plans for the future? “Concerning the trio, my plans for the future are mostly to continue exploring this format in order to create interesting music … and trying to get some concerts. Apart from that I am composing for a theatre show in November. I am also currently working on a solo piano program - yet another much explored format - and trying to come up with something original.”
You have said that you have been influenced more by vocalists than other pianists. Can you explain this a little more? “I have always been moved the most by vocal music (and especially choral music). Nothing like a voice can go directly under your skin. It is the most direct, rich in timbres and original sounding instrument, qualities which are difficult to achieve on a piano. Actually, in my opinion one must always have another instrument or sound in mind in order to obtain a personal tone on the piano. In my case most of the time I hear a voice or voices when I play.”
Can you tell us a little about your formative influences, and how you began your musical journey? “When I grew up classical music was playing most of the time at home. There are a few albums of the family’s discotheque not belonging to this genre that somehow influenced my early years somewhat more. I especially remember Eroll Garner’s piano playing, Zamphir’s pan flute and the South African choir Ladysmith Black Mambazo. And there was a piano at home whose keys I apparently always tried to reach as soon as I could stand. When I was 10, I started classical training but always played the tunes by hear and so never learnt to read music. After a couple of years I quit classical lessons when my teacher discovered the fraud and I started to play the blues for myself. I was fascinated by the fact that you could actually make music without a score… I then studied Blues and Jazz with Marc Ueter an excellent teacher in my hometown Yverdon. By that time I was 14 and
I would already spend hours at the piano improvising freely and compose songs. It was then already clear that music would be in the center of my life. I listened to Oscar Peterson, Bill Evans, Nirvana and Cypress Hill with equal passion. I then enrolled in Bern’s High School of Arts where I founded my first Trio at 18 years old. My original idea was to play standards like my jazz idols that were Keith Jarrett and Brad Mehldau but gradually my compositions replaced them in the repertoire and the band sound took a more personal turn!”
And finally, plans for the future? “Concerning the trio, my plans for the future are mostly to continue exploring this format in order to create interesting music … and trying to get some concerts. Apart from that I am composing for a theatre show in November. I am also currently working on a solo piano program - yet another much explored format - and trying to come up with something original.”
For more information visit Colin’s website & ECM Records.
Click the album cover to read our review of Le Vent by the Colin Vallon Trio.
Click the album cover to read our review of Le Vent by the Colin Vallon Trio.