Chute Libre - 1978 - Ali Baba

Chute Libre

1978

Ali Baba

01. Ali Baba (5:10)

02. Trop Tard (4:45)

03. Paysages D'Ur (4:15)

04. Octopus (2:48)

05. Cello (4:48)

06. E 330 (5:00)

07. Flipper Nana (4:36)

08. Canaan Part 1 (4:20)

09. Canaan Part 2 (4:14)

Patrice Cinelu / electric & acoustic guitars, cabasa (6), vocals (8)

Olivier Hutman / piano, Fender & Yamaha CP30 e-pianos, clavinet, spinet, Hammond, synths, vibes

Denis Barbier / flute, piccolo flute, alto, tenor & soprano saxes, double bass & harp (5)

Oliver DeLaTaille / trumpet, bugle

Philippe Simon / trombone, bass trombone

Gilles Douieb / bass

Umberto Pagnini / drums

Mino Cinelu / percussion

With:

Éric Letourneux / tenor sax (5)

Raymond Betzi / percussion (1,5)

Rich Third or Fourth Wave Jazz-Rock Fusion from a short-lived French band that is notable for the prominence of trombones and flutes as well as for the presence of a core of three highly-skilled multi-instrumentalists.

1. "Ali Baba" (5:10) quite solid and sophisticated Jazz-Rock Fusion that occasionally slips over into Smooth Jazz and instrumental rock. I like the prominent use of trombones as well as the core trio of band members' willingness to switch between multiple instruments during the course of a single song.

2. "Trop Tard" (4:45) funk from the perspective of the Soul/R&B bands like the JBs, Tower of Power, and, more, Herbie Hancock's Headhunters. Well done!

3. "Paysages D'Ur" (4:15) nice, smooth yet eminently sophisticated jazz-rock

4. "Octopus" (2:48) back to the R&B-grounded Jazz-Rock Funk of the Listen to the electric bass play of Gilles Douieb! as well as the contributions of the horn section! Wow!

5. "Cello" (4:48) funny to name a song after an instrument (one of the only) that does not exist in the repertoire of the band or their guests! A beautifully composed and "orchestrated" song that definitely continues the display of absolutely top notch Jazz-Rock Fusion.

6. "E 330" (5:00) Oh. I get it! Alternating songs deeply rooted in the funk with other sophisticated yet-smoother song constructs. Me like! Here we have yet another amazingly superb funk song, this one founded well within the Latin traditions. The song's only weakness is that it gradually becomes smoother, more Latin melodic and less R&B funky as it progresses--especially as Olivier Hutman's iano takes the lead. It's not bad--the piano play is pretty--especially when woven with the acoustic guitar and flute--but it gets a little bland when he becomes the sole soloist (despite his similarity of style and sound to that of my well-loved favorite, Chick Corea).

7. "Flipper Nana" (4:36) a song that has both swing and funk elements to it also presents more of that lovely trombone in the lead while the rest of the band actively and creatively supports from beneath (and beside). The oddly-muted horn section blasts at the two minute mark are awesome, preceding a nice flute solo, then, 30 seconds later the band shifts into a more traditional jazz motif with some excellent double bass walking from Denis Barbier and some great piano soloing from Olivier. Another switch in the second half of the fifth minute leads to some rock electric guitar shredding as the song heads slowly into its long fadeout finish.

8. "Canaan Part 1" (4:20) more high-speed Jazz-Rock Fusion of the Headhunters kind with the skills on display that the Mahavishnu Orchestra would certainly have been proud if not envious. All I can say is, Wow! How can it be that this band has received absolutely no attention on either ProgArchives or JazzMusicArchives.com? Even the song-ending drum solo that begins in the second half of the fourth minute is done so tastefully--and does not feel like wasted time or space.

9. "Canaan Part 2" (4:14) the band uses a chill, smooth funk motif as if to recover (or let the listener recover) from Part 1. The horn section sets the band up for an extended electric guitar solo backed by some wonderful electric piano chord play and intermittent riff-blasts from the horn section. While electric guitarist Patrice Cinelu does not, in my estimation, stand up to the mind-blowing expressions of the bass, drums, percussionists, and horns, he is quite good.