Delbecq3 - INK - New album september 2015 from Igor Juget on Vimeo.

Editor's info:
A big surprise for all those who thought that the first and only Benoît Delbecq’s project with the piano jazz trio format ended with the unfortunate death of bassist Jean-Jacques Avenel in 2014. Here comes again the formula debuted in 2010 with the album “The Sixth Jump”, now with Canadian, but Berlin-based, Miles Perkin playing the upright bass under Avenel’s influence, but with a voice of his own. Emile Biayenda, the Congolese drummer revealed by that first opus, stayed for more. Not more of the same, but taking to new grounds the ideas put into practice five years ago. As Fred Hersch (Delbecq’s partner in “Fun House”) writes on the liner notes, “INK” is a brilliant «collection of contradictions»: structure versus improvisational freedom, jazz versus non-jazz, mathematics versus deep feelings. As usual, the French musician applies his personal vision of the prepared piano, assembling the sound worlds of Gyorgy Ligeti and the African pygmies with the jazz tradition coming from Duke Ellington and continuing through Steve Lacy. The final results are pure joy, and Hersch, one of the most important pianists of our time, has no doubts – he calls Benoît Delbecq a genius.

Editor's info:
A big surprise for all those who thought that the first and only Benoît Delbecq’s project with the piano jazz trio format ended with the unfortunate death of bassist Jean-Jacques Avenel in 2014. Here comes again the formula debuted in 2010 with the album “The Sixth Jump”, now with Canadian, but Berlin-based, Miles Perkin playing the upright bass under Avenel’s influence, but with a voice of his own. Emile Biayenda, the Congolese drummer revealed by that first opus, stayed for more. Not more of the same, but taking to new grounds the ideas put into practice five years ago. As Fred Hersch (Delbecq’s partner in “Fun House”) writes on the liner notes, “INK” is a brilliant «collection of contradictions»: structure versus improvisational freedom, jazz versus non-jazz, mathematics versus deep feelings. As usual, the French musician applies his personal vision of the prepared piano, assembling the sound worlds of Gyorgy Ligeti and the African pygmies with the jazz tradition coming from Duke Ellington and continuing through Steve Lacy. The final results are pure joy, and Hersch, one of the most important pianists of our time, has no doubts – he calls Benoît Delbecq a genius.