[Harp-L] Re : G. Maret...
Just my general comments on Grégoire Maret, a global answer to all the
previous messages.
As Ludo pointed out, he's Swiss, not French. However, I reckon Chris'
"French" was me, not him. Joe, if you think the French can't be schmaltzy,
try Michel Herblin. Romantic to the core.
Anyway, I also think that Gregoire's playing on The Way Up was good but not
mindblowing. However, I felt that such a piece as The Way Up does not make
sense due to the individual flair of the soloists but rather should be
listened to as a whole. So, while I agree with the fact that his playing
doesn't make my hair rise, I would posit that that wasn't the idea. I'm
planning to go see 'em live in Paris in June and I'll decide then what I
think of Gregoire's live playing.
Meanwhile, I got hold of Dapp Theory and one half listen is enough to make
me want to hear more, although, again, I feel a little frustrated by the
role played by the harmonica (so far). On the first three tracks it sounds
more like a faire valoir than an integral part of the band. I will comment
further upon further listening.
So, to some extent, I can understand Chris' comments on the 'lack of
personality', something, incidentally, that wasn't part of my criticism of
Chris' record ;)
In general, though, I feel that there has been a lot less pushing of
boundaries in the chromatic world as there has been in the diatonic world. I
can't explain it, but brilliant though players like Gallison or Turk are, I
think that there playing is very conventional nonetheless. I don't hear much
more "personality" there... The only players that really fire up my ears for
playing different are Bill Barrett and Olivier Ker Ourio, for very different
reasons.
I'm hoping to find more of Gregoire's contributions and forging a more
global opinion. So far, I find his work on Dapp Theory more interesting than
his work on The Way Up from a strict harmonica point of view (and despite
utterly loving The Way Up), but I obviously need more listens to form a
better opinion.
Ben
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