Concert review Cannes 1/12/2022


ori­gi­nal Arti­cle with gre­at pho­tos HERE

Alt­hough she is not a new­co­mer to the Euro­pean jazz sce­ne, saxo­pho­nist Muri­el Gross­mann is still rare in Rivie­ra halls. The arri­val of her new quar­tet in Can­nes as part of Thurs­days Jazz is a gre­at oppor­tu­ni­ty to dis­co­ver her music live!  A Cata­lan orga­nist Abel Boque­ra, a drum­mer Uros Sta­men­ko­vic and a gui­ta­rist Rado­mir Milo­j­ko­vic both of Yugo­s­la­vi­an ori­gins, she herself is Vien­nese but lives in Ibi­za.  The­re is no need for a bass play­er, Abel takes care of it on the Ham­mond pedal board, dis­creet bass lines that will sup­port the group throughout the set.  The saxo­pho­nist begins the con­cert with her sopra­no, she will alter­na­te regu­lar­ly with a tenor and more rare­ly with her alto.  The very Col­tra­ni­an phra­sing at the begin­ning will beco­me eit­her rougher or more cuddly later. From time to time, during the gui­tar or organ solos, she aban­dons her saxo­pho­nes for a few chais of bells or so many other types of per­cus­sions that she hand­les with passion.
Muri­el Gross­mann signs all the com­po­si­ti­ons, a reper­toire taken from the group’s last two albums (Uni­on and Uni­ver­sal Code).  The gui­tar knows how to make a swing in the cho­rus, the orga­nist offers us some beau­ti­ful flights, always cle­ver­ly punc­tua­ted by a drum­mer who­se strike, howe­ver ener­ge­tic, never inva­des the sound space of the quar­tet.  A very nice discovery.
Jaques Lero­gnon

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