Named after a wind that blows on the snow-covered mountains of the Northern Alps from the Sahara, the Foehn trio illuminates the Jazz au Sommet stage with its rhythmically elaborate and orientalizing compositions. Architects of a skilful tangle of acoustic and electronic sounds, the members of the trio from Lyon have created a specific sound signature in their album Magnésie. A year after its release, we find it performed at the Jazz au Sommet Festival, ablaze with its blend of Nordic jazz, pop, 90s indie rock and 50s jazz.
One of the particularities of the trio is drummer Kevin Borque’s capacity to sample electronic sounds in an acoustic set. It gives the performance an almost dreamlike atmosphere, in perfect complementarity with the compositions of Christophe Waldner and the depth of Cyril Billot’s double bass. A surprise cover, played as the encore, adds a smooth melancholy to this originality, which captures one’s attention. Here is a clue: it is a reworking of an unforgettable piece written by an early 20th century French composer, whose genius was only revealed after his death in 1925. A musical anachronism of unfathomable beauty emanates from it.
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