The lyricism and melancholy of Colin Vallon’s compositions as well as his trio’s understated three-way interaction remain a trademark on Samares. Yet, much has evolved in the sound of the Swiss pianist’s group since their last record for ECM, 2017’s Danse, as the band’s chemistry has grown even stronger, delving deeper into thick trio tapestries of sound. Dynamic extremes are explored and tuneful hooks – some melody-, some harmony-, others beat-based – patiently assembled, often completed in mesmerizing fashion. Where subtle rhythmic twists and harmonic progressions constructed around piano triads recall cutting-edge inspirations from the world of art-rock, other expositions reveal a tight-knit jazz trio elaborating a chamber sound focused on close listening and reacting. As a whole, the varying pulses are connected by an underlying theme that permeates the music like a heartbeat.
“Racine” (Root), “Ronce” (bramble or blackberry), “Brin” (a twig or blade of grass), “Samares” – the binding idea of Colin Vallon’s new trio album is spelled out clearly, in the songs it comprises and in its own title. The French “Samares” refers to the samara fruit that, visually a blend between a seed and a leaf, is characterised by its wing-like flaps – they’re found on maple trees for instance, falling from their branches in graceful pirouettes, always making an elegant landing. This imagery couldn’t be more fitting to the contemplative sound worlds that unfold throughout this trio record. Once again accompanied by double bass player Patrice Moret and Julian Sartorius on drums, the Swiss pianist uncovers a programme that mirrors inspirations from nature – plants in specific – with organic grooves and seemingly telepathic interplay. Jazztimes magazine described the latter with “cool detachment, insistent grooves and post-postmodern sensibility”.
“I think the development of our trio has always been towards finding a collective sound and not focusing on individual performances,” says Colin. “We share a love for textures and blending. Julian is a master of creating a unique atmosphere and has a strong sense of space for each musical piece. His sound palette extends well beyond the drums and his playing is extremely original. And Patrice’s supportive playing, but also his way of orchestrating music as well as his creative ideas in shaping the songs are essential elements for our collective identity.”
With “Racine”, the album begins on a solemn, introspective note, with brushes against snare seemingly emulating soft waves crashing against the shore. It works as a preamble for the large lyrical piano-waves that dominate “Mars” – a single progression dynamically developed in a steady crescendo. Deeply attuned to each other, the trio ebbs and flows together, forming a single breath.
“Lou” and “Timo” are named after Vallon’s children, marking another change that has made an impact on the pianist’s life since the last album: newfound fatherhood. First ruminative, spacious, “Lou” develops a firm pulse around a melancholy progression, while “Timo”’s upbeat rhythmic furore makes up the backdrop for muted prepared-piano improvisation. Contrasting but complementary, as revealed on many juxtapositions over the course of the album.
Equipped with the arguably most hard hitting beat on the record, “Ronce” falls into line with the afore mentioned “Timo” and “Mars” type of compositions, presenting a spiralling forward motion, where the trio’s energy builds one long, captivating arc. Here, Vallon alters the piano’s pitch with slight synth-modulations to a haunting effect. “Étincelle” can be considered the polar-opposite in its rubato design, with its soft piano arpeggio accompanied by sharp cymbal splashes and firm double bass plucking building momentum in unexpected ways – at its conclusion frantic cymbals fade out as naturally as they entered the picture.
Meanwhile, the group’s live-experience has exponentially increased, due among other things to the trio’s bi-weekly concert series in Thun, which “radically changed the sound of the band, reinforcing a huge complicity in our playing. I would say between Le Vent and Samares we developed a deeper connection as well as a freer way of playing. The material evolved naturally, together and over time, allowing for more explorations and more contrasts.”
The title track’s stark rubato-flow speaks to the group’s communicative energy, highlighting the dialogues between the instruments, while “Souche”, like an obscurely transfigured bolero, emphasizes the musicians’ ability to develop sparse material to a reverberating result. Here once again, Colin Vallon’s inventive prepared piano work – in this case wood-blocks jammed between the piano strings – adds haunting microtonal flavours to the warm acoustic spectrum. With “Brin”, the album is brought full circle, concluding with the same kind of atmospheric interplay that graced its beginning, but now inducing a sense of relief.
“The name ‘Samares’, like the seeds of the maple tree, has guided me for the entire process. And it seems so fitting, if you just imagine these seeds dancing in the wind. Danse, Le Vent are the titles of the two previous trio albums. And while there are without a question many differences between this recording and the two previous ones, they are nonetheless also closely connected and form a trilogy.”
Recorded at Lugano’s Auditorio Stelio Molo in 2023, Samares was produced by Manfred Eicher.
