1 	Origin Of The World 	5:37
2 	Warhol 	14:56
3 	Hybridation 	2:20
4 	Chaos 	6:12
5 	And Nina 	5:28
6 	The Eye 	4:01
7 	Human Being 	9:38
8 	Skin 	5:59
9 	Infinite Abstract 	3:50

Electronics – Murcof
Piano, Trumpet, Tuba, Voice, Composed By – Erik Truffaz 
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Clarinet – Nina Truffaz (5)
Cello – Catherine Delpeuche (6)

The collaborative relationship between French trumpeter Erik Truffaz and Mexican electronic sound sculptor Murcof (Fernando Corona) dates back to 2006, when the pair worked with percussionist Talvin Singh as a live pan-cultural hybrid trio. As a duo they issued the mini album Mexico in 2008, which wove together Truffaz's formal and post-jazz sensibilities with Murcof's fuzzy electronic abstraction. While Being Human Being isn't an enormous departure sonically, it does hold another dimensional element; namely, the inspiration of French visual artist Enki Bilal, who did the cover especially for this release based on the duo's concept, which ultimately included a film, making this in essence a soundtrack. This is easily heard that way, but it is also more. Opener "Origin of the World" feels like a theme, with Murcof's ambient soundscapes providing a backdrop for Truffaz's emergent, intensely melodic and suggestive bell-like trumpet sounds. But the very next cut, "Warhol," is far more dramatic, with percussive loops, darker textures, layers of reverb, wind instruments, piano, and the implication of a minimally employed sequencer create the body of the tune as Truffaz enters and exits more sparingly. Here, seduction and dread walk hand in hand over nearly 15 minutes. Other highlights included the paranoid futurism of "Chaos," the propulsive "Human Being" -- which, despite its experimental nature, should work well on the club floor -- and the restrained approach of Eastern European post-classical music in "Skin," where cellos, pedals, synths, woodwinds, and a four-note theme dictate a frame for Truffaz on tuba. His trumpet solo, while luxuriating in Murcof's backdrop, is elegant and evocative of both the soundtrack work of Krystof Komeda and Miles Davis' later work with Gil Evans. Being Human Being is compelling and provocative, but lovely all the same. ---Thom Jurek, AllMusic Review

Mieliśmy już w historii elektroniki kilka podobnych projektów – ten wydaje się jednak wyjątkowy.

Do pierwszego spotkania doszło w połowie minionej dekady. Z jednej strony – Erik Truffaz, wybitny, francuski trębacz, specjalizujący się we współczesnym jazzie, a z drugiej Murcof – czyli Fernando Corona, meksykański twórca ambientu i IDM-u. Efektem tego okazał się album „Mexico”, wydany przez cenioną wytwornię Blue Note.

Dwa lata temu drogi obu artystów znowu się przecięły. O ile za pierwszym razem pracowali oni nad ilustracyjną muzyką zainspirowaną krajobrazem Ameryki Południowej, tak tym razem postawili sobie trudniejszy cel: odmalowanie dźwiękami psychicznej kondycji współczesnego człowieka, uwikłanego nie tylko w egoizm i chęć zysku, ale również w liczne konflikty, czy wręcz wojny.

„Origin Of The World” to zgodnie z tytułem opis stanu świata w okresie jego niczym nieskalanej niewinności – stąd otrzymujemy tu pastelowy ambient nasycony subtelnymi tonami trąbki. „Warhol” wprowadza do tego sielskiego obrazu elementy dysharmonii – najpierw uderza tektoniczny bit wsparty mrocznym basem, a potem pojawiają się cyfrowe przestery i dronowe warkoty, zza których z trudem przebijają się jazzowe dźwięki.

Kiedy zaczyna się „Chaos” nie pamiętamy już rajskiej arkadii – rozbrzmiewają groźne akordy piano, trąbka zawodzi złowieszczo i boleśnie, a wszystko to uzupełnia gąszcz rozdygotanych glitchów. „And Nina” i „The Eye” kontynuują ten wątek dezintegracji – atakując dupstepowymi bitami połączonymi z epickimi syntezatorami, spomiędzy których dochodzi tęskny motyw trąbki. „Human Being” niosą tętniące breaki, wokół których wibrują kosmiczne loopy.

Mimo całego wewnętrznego i zewnętrznego chaosu jesteśmy jednak ludźmi – i choćby podświadomie dążymy do ładu. Dlatego w „Human Being” rozlegają się neoklasyczne tony chmurnych smyczków i nostalgicznej trąbki – przywołując wspomnienie pamiętnej muzyki Milesa Daviesa ze słynnego filmu „Windą na szafot”. A na koniec „Infinite Abstract” – dochodzące jak z zza ściany miarowe uderzenia dudniącego bitu, ciągnące za sobą zaszumione pogłosy i szczątkowe dźwięki trąbki. Czy to już odgłosy z tamtego świata?

„Being Human Being” robi duże wrażenie. Murcof stanął na wysokości zadania i przygotował sugestywne podkłady, balansujące wokół dronowego ambientu wywiedzionego z industrialnego techno, a Truffaz zagrał swe partie wręcz porywająco. Jakby tego było mało – Enki Bilal opatrzył wszystko swymi wizyjnymi rysunkami. Mieliśmy już w historii elektroniki kilka podobnych projektów – ten wydaje się jednak wyjątkowo pieczołowicie przygotowany. Posłuchajcie zresztą sami – i zastanówcie się nad naturą człowieka. ---Paweł Gzyl, nowamuzyka.pl

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Disc 1 (Ladyland):
1. Saloua. 8:23
2. Gedech. 5:36
3. Presentation. 1:09
4. Dubophone. 4:49               play
5. Ghost drummer (intro). 2:46
6. Ghost drummer. 6:39
7. Whispering. 6:14
8. Parlophone. 2:23
9. Magrouni. 6:32
10. Ines. 5:31
11. Le reve d’Eline. 5:27
12. Yabous. 5:55.               play
13. Outlaw. 3:22
14. Big wheel. 5:56
15. Jadwell. 3:00

Disc 2 (Eric Truffaz Quartet):
1. Sweet mercy. 7:52
2. King b. 9:02
3. Presentation. 0:42
4. Wilfried. 4:52                         play
5. Bending new corners. 9:12
6. The walk of the giant turtle (intro). 1:54
7. The walk of the giant turtle. 6:19
8. Arroyo. 10.06
9. Flamingos. 8:04
10. Belle de nuit. 9:21
11. Betty. 4:11                           play

Personnel:

Ladyland:
Erik Truffaz: trumpet, keyboards.
Manu Codjia: guitar, keyboards.
Philippe Pipon Garcia: drums, samples.
Michel Benita: bass, samples.
Mounir Troudi: vocals, bendir.
Nya: vocals.

Erik Truffaz Quartet:
Erik Truffaz: trumpet, keyboards.
Patrick Muller: fender rhodes, piano.
Marcello Giuliani: bass.
Marc Erbetta: drums, percusión.
Nya: vocals.

French trumpeter Erik Truffaz, one of the hardest working artists in jazz, seems to be endlessly on tour with his two groups. The only place his stylistically hybridized music has yet to make significant inroads is the US—which is a shame because Truffaz is a fine player from the electric Miles camp and a largely innovative conceptualist as well. Face-à-Face, his first live release, includes one disc with his piano-based quartet and the other with his guitar-centric Ladyland. It demonstrates just how different studio material can be in performance, where the energy and expansive possibilities are greater.

The Ladyland disc also proves it’s possible to breathe new life into less-than-stellar material. Mantis (Blue Note, 2002) was a near-perfect blend of fusion-based writing with a distinctive Middle Eastern vibe. Saloua (Blue Note, 2005) unfortunately took the concept too far, emphasizing rapper Nya and Tunisian singer Mounir Troudi's voices over playing by Truffaz and Manu Codjia—a guitarist who compellingly mixes quirky Frisellisms, Holdsworthian legato phrasing and the occasional metal edge. Live, the balance is returned. And that’s a good thing, considering the lion’s share of this material is taken from Saloua.

Ladyland covers considerable territory. “Ines” revolves around a hypnotic pedal tone, Troudi’s plaintive singing in direct contrast with Truffaz’s soft-timbred approach—also evident on the gentle “La Reve D’Eline,” featuring a duet spot for Truffaz and Codjia. “Yabous” is more insistent, combining vocals by Troudi and Nya over power chords by Codjia and a visceral dance groove from bassist Michel Benita and drummer Philippe Pipon Garcia. “Magrouni” is a pedal-to-the-metal rocker whose muscular theme—doubled by Truffaz and Codjia—provides one of the disc’s most memorable moments.

Truffaz’s quartet has been around longer, evolving considerably. It's morphed from an all-acoustic mainstream group in 1997 to a more aggressively rock-informed unit in recent years, influenced by—but less dense and angular than—Miles' late-'60s and early-'70s work. These days Patrick Muller is often found feeding his Rhodes through a distortion box, with more powerful rhythms coming from bassist Marcello Giuliani and drummer Marc Erbetta.

Live, the quartet—occasionally augmented by Nya—is the more adventurous of the two groups. The thundering “King B” extends to nearly twice the studio take’s length. Truffaz uncharacteristically reaches for the upper register of his horn while retaining his thick and appealing tone. As raw as Ladyland can be—and as promising a young player as Codjia certainly is—Truffaz’s quartet is the more successful of the two, taking more collective risk with the material, even though it's equally form-based. “Bending New Corners,” with Giuliani’s popping bass and Muller’s juxtaposition of abstraction and blues-based lines, is more open-ended than anything Ladyland does.

While the quartet disc wins out over Ladyland's because it takes greater chances, Face-à-Face in its entirety provides a terrific introduction to listeners who are unfamiliar with Truffaz—and confirmation that, as good as his records have been, he’s clearly at his best on the concert stage.

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1. Saloua
2. Big wheel
3. Whispering
4. Vabous
5. Gedech
6. Dubophone
7. Ines
8. Tantrik
9. Ghost drummer
10. Le soteil d`eline
11. Spirale
12. Et la vie continue

Erik Truffaz – Trumpet,  Electronics, Melodica
Manu Codjia - Electronics, Guitar
Michel Benita - Bass, Bass Instrument, Sampling
Phillippe Pipon Garcia - Drums, Sampling
Nya – Vocals
Mounir Troudi  - Bendir, Vocals

Jazz is by nature an act of continual fusion, the conflation of disparate styles, instrumentation and techniques into one dynamic whole. Nevertheless, one small subgenre—specifically the blending of rock and jazz—is most often applied with the "fusion" label; and though Miles Davis' name isn't exactly synonymous with the term, on the strength of his pioneering efforts In a Silent Way and Bitches Brew, the two have become inseparable.

French trumpeter Erik Truffaz, it seems, has aimed to better Davis (and therefore perhaps escape the incessant comparisons stemming from Miles' immense influence on his playing) by pressing toward the creation of the fusion album par excellence. With Saloua, he continues to pursue the exoticism and electronica of Mantis (2002) and The Walk of the Giant Turtle (2003) while keeping his scope wide enough to encompass ever more hip-hop, reggae, Arabic music, and psychedelic rock, often in as undiluted a form as possible. Tunisian singer Mounir Troudi and Swiss rapper Nya rejoin him along with his longtime Electric Ladyland Quartet: bassist Michel Benita, guitarist Manu Codjia, and drummer Philippe Garcia, all of whom dabble in samples, loops, and electronics as required.

Truffaz's designs here are admirable but inexcusably flawed in execution. Saloua is a watery broth masquerading as a hearty stew, and arguably a step backward for Truffaz, whose musical progress has always had something retrograde about it. The disc is utterly awash in electronics, as though gratuitous use of digital effects were a substitute for substance and musical innovation. The title track, featuring Troudi, has all manner of echoes and amplifications and moody rattles and creaks, but none of this ever quite meshes with the raw emotiveness of the vocalist. Stripped of some of these superfluities, the song might then be on a par with contemporary Arabic music. Which begs the question: Are Truffaz and his band actually broadening jazz, or are they simply trying their collective hand at a different genre?

The question follows them on to "Big Wheel," on which Nya gives a stilted and hackneyed rap over a lazy reggae rhythm, heavy, as one might expect, on the dub. It amounts to reggae for the non-reggae crowd. Tracks like "Saloua," "Big Wheel," and "Yabous" (another Troudi vocal and Nya rap) are proof that it is possible to leap the permeable borders of jazz and land nose-deep in another genre's mediocrity. "Gedech" partially succeeds in uniting rock, funk, and Troudi's wailing vocals, but even this ends up feeling shallow and contrived.

Half the time Truffaz sounds as if he can barely stand upright and clutch his instrument, let alone sustain a note. Is this fatigued, impotent style of playing deliberate? The lifeless ballad "Whispering"—made more lifeless by Truffaz's performance—is appalling in this respect. On "Tantrik," the best of the Troudi tracks, Truffaz's solo is like a wheezing asthmatic trying to inflate a balloon. It's an apt simile for the whole of Saloua: strong on general ideas but weak in every other conceivable way. ---Eric J. Ianelli, allaboutjazz.com

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01. Comptine (01:24)
02. Kudu (05:17)
03. Djiki'n (04:21)
04. Pacheco (06:09)
05. Szerelem (05:06)
06. Fat City (06:12)
07. Doni Doni (Part 1) (04:01)
08. Doni Doni (Part 2) (06:58)
09. Seydou (03:35)
10. Le Complement Du Verbe (03:59)

Erik Truffaz - trumpet
Benoit Corboz - keyboards
Marcello Giuliani - bass
Arthur Hnatek – drums
Rokia Traore - vocals (1, 3, 7, 9)
Oxmo Puccino - rap (10)

When I heard the very first notes of “Comptine” (the first song on Erik Truffaz Quartet’s Doni Doni), I knew I would like the album: it was the combination of Erik Truffaz’ airy trumpet accompanied with Rokia Traoré’s intensive voice. The following songs proved that sweet jazz with Malian singing is a combination that cannot go wrong!

Erik Truffaz Quartet is a totally new jazz group to me and I was fascinated to find it through the Spotify recommendations. Naturally Truffaz has been around a long time (his recording career started already in 1994) but unfortunately his music had not found its way into my ears until now.

According to several sources, Truffaz seems to have a reputation of combining elements of hip-hop, rock and electronic music into his own compositions. In Doni Doni this can be heard especially in “Le Complément Du Verbe” with its hip-hop backgrounds and Malian rapper Oxmo Puccino’s rhyming. This time, however, the Malian sounds and influences are put in the front: in addition to “Le Complément Du Verbe”, Truffaz introduces another Malian artist when Rokia Traoré takes the role as the leading vocalist. Traoré features in four songs which she delivers beautifully by giving a unique flavor of Malian traditional singing. Check below the amazingly beautiful “Djiki’n” featuring Traoré.

There are many reasons why I have enjoyed listening to Doni Doni. I’ve always been fond of artists who dare to bend the genre burdens and Doni Doni is a great example of this: the album moves from classic Rhodes-driven jazz (“Pacheco“) to afrobeat (“Part II“) and psychedelic jazz (“Fat City“), without forgetting jazzy hip-hop (“Le Complément Du Verbe“). The sound is very rich and playful giving the listener a lot to observe.

However, what I really liked was the fact that it introduced Rokia Traoré to me and lately I have been listening to her albums as well. It’s always fascinating when talented artists collaborate. That is one of the best ways to extend the listeners musical knowledge.

Doni Doni is a great album to give medicine for the winter days. The album is all about taking the listener to a musical journey to the richly toned world of Truffaz‘s sounds. Check out below the album teaser (with a great “Doni Doni – Part 2”) which lets you have a look at Erik Truffaz Quartet‘s recording sessions. Doni Doni was released in January 15th via Parlophone France. --- othersoundz.wordpress.com

Urodzony w Szwajcarii, a mieszkający we Francji trębacz Erik Truffaz stał się w połowie lat 90. XX wieku jednym z prekursorów nu jazzu. Podobnie jak Norweg Nils Petter, Molvaer łączył jazz z klubowymi brzmieniami, używał przetworników do trąbki, a rytm perkusji mieszał z komputerowym beatem.

Dzięki albumom wydawanym przez Blue Note Records Erik Truffaz zyskał sławę na całym świecie. Płyty "The Dawn" (1998) i "Bending New Corners" (1999) zostały wysoko ocenione przez krytyków i dobrze się sprzedawały. Ostatnio popularność Truffaza spadła, ale dzięki nowej płycie "Doni Doni" ma szansę powrócić do grona najpopularniejszych europejskich jazzmanów.

W malijskim dialekcie bambara tytuł oznacza wszystkiego po trochu. Truffaz przez pewien czas współpracował z południowoafrykańskim Vuyani Dance Theatre i wtedy zainspirowała go muzyka Czarnego Lądu. Zawsze intrygował go głos mieszkającej w Brukseli malijskiej wokalistki Rokii Traore. Przygotował dla niej dwie piosenki, kolejne dwie powstały w studiu.

Trąbka Truffaza momentami brzmi jak afrykańskie instrumenty dęte, a czasem jakby była podłączona do prądu. Podświadomie kojarzymy ją z Milesem Davisem. Nowy kwartet trębacza potrafi wytworzyć radosny nastrój odkrywania nowych dźwięków, jak i przenieść nas do mrocznego klubu na Montmartrze. W balladzie "Djiki`n" Rokia Traore nakłada na siebie kilka partii wokalnych. Przykładem mainstreamowej przeszłości Truffaza jest temat "Szerelem" ze znakomitą partią organów Hammonada i subtelnymi solówkami lidera. ---Marek Dusza, audio.com.pl

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1 	–Erik Truffaz Quartet 	El Tiempo De La Revolución 	5:05
2 	–Erik Truffaz Quartet 	Istanbul Tango 	6:47
3 	–Erik Truffaz Quartet Featuring Anna Aaron 	Blue Movie	4:20
4 	–Erik Truffaz Quartet 	African Mist 	7:35
5 	–Erik Truffaz Quartet 	La Luna Mentirosa 	5:34
6 	–Erik Truffaz Quartet Featuring Anna Aaron 	A Better Heart	4:00
7 	–Erik Truffaz Quartet 	Un Souffle Qui Passe 	4:53
8 	–Erik Truffaz Quartet 	Mr. K 	5:57
9 	–Erik Truffaz Quartet Featuring Anna Aaron 	Blow Away	3:32
10 	–Erik Truffaz Quartet 	Revolution Of Time 	10:10

Bass – Marcello Giuliani
Drums, Vocals – Marc Erbetta
Organ [Hammond], Piano, Electric Piano [Fender Rhodes] – Benoît Corboz
Percussion – Marc Erbetta
Trumpet – Erik Truffaz 
Vocals - Anna Aaron (3, 6, 9)

Across a twenty-year recording career, Swiss-born trumpeter Erik Truffaz has explored jazz, rock, electronica, dance and ambient musics. El Tiempo De La Revolución, his tenth album for Blue Note France, mixes jazz, '80s soul and a touch of Nordic cool to create some intriguing soundscapes and moods.

El Tiempo De La Revolución is credited to the Erik Truffaz Quartet, which Truffaz formed in 1997. Alongside original members Marcello Giuliani on bass and Marc Erbetta on drums, Truffaz is joined on this album by keyboardist Benoit Corboz, who became a member of the quartet in 2010. The tunes, all jointly composed by the band members, are constructed within relatively narrow boundaries, avoiding extremes of volume or tempo, creating a shared mood across most of the tunes but generally avoiding any sense of monotony by judicious sonic combinations.

Truffaz' muted trumpet is a consistent presence, setting up and maintaining the music's ambient, comfortable, feel. Only on "Un Souffle Qui Passe" does he move completely away from this mood, towards a more unsettling, almost voice-like, tone. It's left to the remaining three musicians to bring more varied approaches to the tunes. "African Mist" centers on Giuliani's hypnotic, repetitive, bass line, while "La Luna Mentirosa" is characterized by a seductive '80s mix of keyboards, drums and bass. On the somnolent "Istanbul Tango" Giuliani's compressed bass plays another deceptively simple line while Corboz' Hammond jumps between sleepy chordal washes and funky, percussive, stabs.

Anna Aaron—whose Dogs In Spirit (Two Gentlemen, 2011) features Truffaz and was produced by Giuliani—sings on "Blue Movie," "A Better Heart" and "Blow Away." She sounds like British soul and R&B singer Sam Browne, a slight catch in her voice lending it a distinctive emotional undertone. This similarity is clearest on "Blue Movie," the most arresting of the three songs, which may be about a broken love affair, but is (almost certainly) not about blue movies.

The bleak "Revolution Of Time" opens with Corboz's sparse, Satie-esque solo piano. It's a mournful but lovely tune and features Truffaz's most emotionally engaging playing on the whole of El Tiempo De La Revolución. It's followed by five minutes of silence and then an uncredited one-minute burst of down home, bluesy slide guitar and vocals. It's a minute worth waiting for, but it begs the question, "Why?" Perhaps Truffaz is setting the scene for a change of direction. ---Bruce Lindsay, allaboutjazz.com

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1. The Secret Of The Dead Sea 10:07
2. Let Me Go ! (Feat. Sophie Hunger) 03:11
3. Mechanic Cosmetic 05:48
4. Fujin 04:09
5. Dirge (Feat. Sophie Hunger) 03:41
6. In Between 04:38
7. Lost In Bogota 05:08
8. Balbec 06:13
9. BC One 04:29
10. Les Gens Du Voyage 05:08
11. Giuseppe 02:48               play
12. Dead Sea Stones 03:20        play

Credits:
Benoît Corboz: Hammond, Fender Rhodes, Piano
Marcello Giuliani: bass, double bass
Marc Erbetta: drums, vocals
Erik Truffaz: trumpet, vocals
Sophie Hunger: on Tracks 3 & 6, vocals

Erik Truffaz has covered a lot of ground - both literally and metaphorically – since releasing his first album on the Blue Note label in 1997. Over the course of a single decade -and after selling a total of 400,000 albums – the trumpeter’s life has been a blur of planes, trains and automobiles transporting him from concert to concert on his never-ending world tours. This naturally led him to new artistic landscapes and fruitful encounters.

The Erik Truffaz Quartet is above all a collective, a sound, a group dynamic. Starting in 1997 the group was Marcello Giuliani on bass, Marc Erbetta on drums, and Patrick Muller on keyboards for a seminal album, “Out of a Dream”, on the legendary Blue Note label. In June 2010, Benoît Corboz takes Patrick Muller’s place, after having been the studio sound engineer for the group, starting with “The Dawn”. A new tribute to slow, the group takes on silence and stretching things out. Sophie Hunger, with her marvellous voice, is invited to join the quartet on two tracks (a Dylan cover and an original composition). Marcello Giuliani brings his double bass back and records a track on banjo, and the group is off again for more great adventures.

Pod koniec października ukazała się nowa płyta francuskiego wirtuoza trąbki Erika Truffaza pt. "In Between". Erik po latach powrócił do składu swojego starego kwartetu sprzed 2007r. z Benoît Corbozem na instrumentach klawiszowych. Nowy album zawiera 10 utworów, które jak sam tytuł sugeruje wypełniają przestrzeń gdzieś "pomiędzy przeszłością i przyszłością, radością i smutkiem, życiem i śmiercią". Obok nagrań instrumentalnych na "In Between" znalazły się też dwie piosenki śpiewane przez Sophie Hunger ("Let Me Go" oraz cover utworu B.Dylana "Dirge").

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