Matthieu Bordenave – The Blue Land
(ECM Information 5862769, assessment by Frank Graham)

Saxophonist Matthieu Bordenave (b.1983, Tarbes, France) appeared to reach absolutely fashioned with La Traversée, his 2020 debut for ECM. He had after all paid his dues for a few years earlier than arriving at this level, initially finding out below classical saxophonist Christian Charnay earlier than shifting on to check jazz and improvised music on the Nationwide Conservatory of Music (CNSM) in Paris. He then accomplished his Masters in Munich the place he his presently based mostly, and has launched a string of recordings with guitarists Peter O’Mara and Geoff Goodman, bass clarinettist Rudi Mahall and drummer Shinya Fukumori amongst others, showing on the latter’s 2018 ECM album For two Akis.

Whereas La Traversée blended the casts and colors of twentieth century composers Messiaen and Dutilleux with the dirge-like chamber jazz of Giuffre and Bley, The Blue Land leans extra closely into Bordenave’s roots in Coltrane and Lloyd. Sumptuously recorded in October 2022 at Studios La Buissonne in Pernes-Les-Fontaines, the identical trio of Bordenave (tenor and soprano saxophones), Florian Weber (piano) and Patrice Moret (bass) is that this time augmented by London-based James Maddren (drums), who brings each a way of metal and his attribute rhythmic guile.

The saxophonist’s choice to introduce the completely different timbral colors of the soprano is one other necessary musical alternative. Featured on round half of the tracks, the smaller horn each expands the group’s palette and underscores Bordenave’s affinities with the late Wayne Shorter. The affect of the adjustments in personnel and instrumentation are instantly felt on the opening “La Porte Entrouverte”, Weber’s summary solo intro providing a tantalising glimpse although a half-open door earlier than Bordenave’s melancholic soprano leads the quartet by a decidedly Shorter-esque free ballad.

It’s Bordenave’s tenor which traces the elegant melodic arcs of the title-track, the trio exchanging indirect glancing blows because the piece unfolds. John Coltrane’s “Compassion”, the one cowl in a programme which in any other case consists of Bordenave originals, channels the fireplace of his late interval meditations into one thing relatively extra slow-burning. “Cyrus” recollects Jarrett’s nice Scandinavian quartet of the ’70s, whereas Shorter’s affect on Bordenave’s tenor is at its most evident in the course of the serpentine twists of the languid “Refraction”. The free-wheeling “Distance” is altogether extra visceral, and regardless of its title “Three 4” has one thing of a rubato really feel. “Timbre” briefly alludes to the free-bop of Miles’ nice mid-‘60s quintet earlier than shifting into freer terrain, the set lastly closing out in a reflective vein with the ruminative “Three Peaks”.

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Each bit as compelling as La Traversée, The Blue Land is directly an achieved work and an evolution. With ‘subsequent era’ artists of the calibre of Mette Henriette, Maciej Obara and now Matthieu Bordenave, Manfred Eicher’s wealthy legacy is clearly in protected fingers.

LINK: Purchase The Blue Land