Re: [Harp-L] Re : G. Maret...


On Apr 18, 2005, at 1:15 PM, Planet Harmonica wrote:

Just my general comments on Grégoire Maret, a global answer to all the previous messages.
As Ludo pointed out, he's Swiss, not French.

OK, bad judgement on my part. I guess I assumed (and you KNOW what happens when you do that) Points to ponder, though:
a) Gregoire is basically a French (type) name. (with an ire in it)
b) Maret (pronounced Maar-ray) is definitely a French name
c) When I saw him in Dallas, he looked like he was from Martinique
d) Switzerland had no islands in the Carribean

Funny, here in the U.S. people don't think as much about being from one state or another. Whereas over in Europe (where most countries are SMALLER than most states), I guess it really matters. From what I DO know about living in Europe, I would NOW suppose that Gregoire's father is from a French canton in WEST Switzerland. OR could it possibly be that Gregoire's FATHER is the American half of the equation AND his FATHER's family is originally from the Carribean, AND it's his MOTHER who is Swiss?. Don't really know....it's a mystery to me....

Let's use ME as an example: I was born on the island of Malta. My father was American (Italian decent), my mother was American (Polish decent). My mother's mother was Jewish. My father's father was Sicillian. In 1282 my family moved to Sicily from Aragon Spain. In 1134 my family moved from Malta to Spain. In 900 my family lived in Venice. Before that Constantinople. What does that make me?.........a mutt

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.

Having lived in France I can tell you that the French are THE Kings of Schmaltz. But I didn't expect that from a YOUNG French player (oh excuse me, Swiss). They are usually more Avant Garde. I found it refreshing AND I liked it.

Anyway, I also think that Gregoire's playing on The Way Up was good but not mindblowing.

Hey, that's all I'm saying. It's not like I'm 'capping' on the guy.

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.

And that's EXACTLY what I said. I said he was constrained by the material, (since it wasn't his).

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.

Well, I took the aggravation of listening to ALL of Dapp Theory and since I'm on dial-up, it tied up the phone all afternoon. Lucky it was Sunday. I didn't want to shrug it all off too soon, so that's why I gave the WHOLE deal a fair chance. As charitable as I can be is to blather "Not my cup of tea".

So, to some extent, I can understand Chris' comments on the 'lack of personality'
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.

Which I said last week when we were talking about why it's easier to start with a chromatic (as opposed to diatonic).

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.

Well. mentioning Bill Barrett around me will get you a blank stare and for once in my life I would go 'mute'. I consider him THE best in his field.

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.

I'm STILL open to input. I'll listen to ANYTHING........once..........smo-joe :0) 

Ben
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