Thomas Belin Quartet - Sounds & Hound (2021)

I say come back not out of nostalgia or because this record would coincide with this style, but rather because the jazz of today sometimes runs after many influences, flirting cheerfully with many other traditions, and that it is possible to find new nuggets by once again digging the aesthetic groove.

The quartet has the ease of large groups which ring true without forcing. I'm just saying, that means he's bathed in music that he masters. There is neither panic nor torture in elucidated themes. Risk-taking is more about looking for a relaxed posture. The swing by stretching, by suspension, as one practices yoga to be as close to oneself as possible. Here Be as close as possible to group listening.

Take the first track always, the rhythm sets in, soft, sensitive, like Charles Clayette's drive. Sébastien Joulie comes to pose a few chords, triads, altered, Scofield style, to color, then the theme, calm, balanced, played by Stephan Moutot, velvet, no frills. I could have sworn he traded his tenor for a viola. Arrives the ample sound of Thomas Belin, on the walking bass, all in the nuance. A Rosenwinkel-style quartet plus saxophone, or a Moreno Wendel duo with a rhythm, or perhaps Scofield & Lovano as a quartet. We are at the heart of the heart. The guitarist installs a bit of mystery in this first solo, it's well constructed. It gets comfortable with harmony. There follows the very inspired chorus of Stephan Moutot, with small touches, first, then very groovy, at the bottom of the time, ending very verbose. Of the nicest effect. End of the first track: we fully believe in this story.

With Blues for 4 dogs, the music, if it stretches rhythmically, nevertheless retains this ease. The sax / double bass / drums trio fits me like a glove. It is a great fluidity, a great energy, the aura of a speech that does not need great gestures, stick effects or rhetoric, or convoluted arguments to convince, just the power of legitimacy (maintained, of course, by work) by musicians at the peak of their art.

Woo Woo, this is a beautiful arrangement for lead instruments, saxophone guitar, the two enhancing each other, with considerable rhythmic work in the background. Long solos fully mastered, fascinating from start to finish. A final for the drums, tailor-made for our ears.

Moondogs where the release of dogs or the reference to the albino and blind viking? It's rock, muscular, there's a grain of overdrive. Fine lines, united or in fourth, of the guitar and the saxophone. It reminds me of Jean-Loup Bonneton's music. Here again, the breath which accompanies the soloists does not leave them.

Albacete-Carcelen begins with a long speech from the double bass player. To follow with a ballad, which sings. Beautiful sound of the saxophonist. The quartet has found there a favorite ground, to express, without inappropriate lyricism, all the emotions that inhabit it.

Song for Adrien, reminds me of the live recordings of Pat Metheny and Joshua Redman. Thomas Belin is very strong at the start of the song, in just a few bars. There is poise, an underlying nervousness, swing in a velvet glove, it stirs between the four musicians. Great art.

Choosing a ride to close the album? Dumber. Or frantic race? The group hesitates for our greatest happiness. Fireworks. Stop.

Thomas Belin signs almost all of this enchanting disc. He offers a very melodic work, often composing with two trios, the soloist and the rhythm. The artists transcend his music, playing with arrangements with total mastery. We bathe in a soft and nervous atmosphere, but the musicians manage to force our listening by a kind of quiet relaxation. It’s more than professionalism, it’s the hallmark of the grown-ups. To listen without moderation.