| | Jean-Michel Pilc Cardinal Points CD Jean-Michel Pilc Discography of CDs
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Since his arrival on the jazz scene, pianist Jean-Michel Pilc has shown a remarkable intensity, yet his music requires repeated hearings to appreciate its nuances. The opening tracks of Cardinal Points have an African flavor, but add some very unusual twists. "Fred's Walk" is a bit of a loping introduction, giving way to "South," a brisk variation that adds soprano saxophonist Sam Newsome and features Pilc whistling and playing melodica as well. "West" is a much more ominous work, while "North" suggests a brooding nightmare. The final segment, "East," provides a tense conclusion to this mini-suite. "Ari's Mode" is initially a playful post-bop duet with drummer Ari Hoenig, before Newsome and bassist James Genus make a late entrance. The one standard of the session is a haunting interpretation of Duke Ellington's "Mood Indigo," which suggests a gathering storm yet proves to be captivating. The CD concludes with Pilc's intriguing four-movement "Trio Sonata," in which François Moutin takes over on bass. ~ Ken Dryden
Recorded at Clinton Studios, New York, New York on December 17-18, 2002.
Personnel: Jean-Michel Pilc (whistling, melodica, piano, percussion); Sam Newsome (soprano saxophone); James Genus (acoustic bass, electric bass); François Moutin (acoustic bass); Ari Hoenig (drums); Abdou M'Boup (percussion).
Audio Mixer: René Ameline .
Recording information: Clinton Studios, New York, NY (12/17/2002/12/18/2002).
Photographers: Douglas Yoel; Larry Fink.
Arranger: Jean-Michel Pilc.
Personnel: Jean-Michel Pilc (piano); Sam Newsome (soprano saxophone); James Genus (acoustic & electric bass); Francois Moutin (acoustic bass); Ari Hoenig (drums); Abdou M'Boup (percussion).
JazzTimes (10/03, pp.94-5) - "...Pilc's ability to camouflage chords transcends ordinary reharmonization....He's blessed with colleagues who can keep up with his sudden detours in dynamics and rhythm..." Jean-Michel Pilc Cardinal Points Songs Cardinal Points Review
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I was born in Pittsburgh on an uncommonly warm night in April , 1962. By all family accounts I screamed so uncontrollably when they brought me home that I turned a wonderful shade of purple. I apparently regained my composure shortly thereafter and settled into my role as the youngest of three. By the time the family moved to Detroit in 1967, I had worn the grooves off my brother's Beatles records and my dad's classical 78's, planting the seeds for the eclectic mixture of styles that is my "home turf."I started violin lessons at age seven, but when I wasn't practicing "Lightly Row" I was back at my brother's record collection, getting a good listen to Grand Funk Railroad, Jimi Hendrix, and Emerson, Lake, and Palmer before he got home from junior high. My brother retaliated by making me desecrate my violin with a microphone in an attempt to sound similar to Jean-Luc Ponty's tone on the Frank Zappa song "Fifty-Fifty." The feedback still rings in my subconscious.Switching from violin (and viola) to guitar was a natural progression fueled by two insatiable needs: to be noticed by the opposite sex, and to be noticed by the opposite sex while playing song in the Led Zeppelin catalog. Of particular interest were the acoustic numbers, with their odd tunings, challenging fingerings, and compositional ...
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