Fleur d'Ennui
PERSONNEL
Fapy Lafertin (gtr(s)); Tim Kliphuis (violin, mandolin); Reinier Voet
(rhy gtr); Jan Brouwer (rhy gtr); Simon Planting (str bs)
TRACKS
Fascinating Rhythm * Alemberts * Stranger In Paradise * The Lady Is A Tramp * Vou Vivendo * Vespers * I Never Mention Your Name * Just One Of Those Things * Fleur d’Ennui * Choro Negro * Gostosinho * When Day Is Done * Double Scotch * Vendredi 13
Time 52.06
The album was recorded in the Scheveningen Studio, The Hague.
Timeless Records, P.O. Box 201, 6700 AE Wageningen, Holland.
Music being the international language that it is, one of its principle exponents favouring Strings, and, as I listen to this Fapy Lafertin string quintet, I become enthused to say, that this Fleur d’Ennui album, must hold a place of the finest in its field among them.
There are three Django Reinhardt numbers, each one having its own identity and personality. The title song within them, signals the group in perfect harmony with each other, making this tune a masterpiece, of highlighting bright timbres of importance and of note, sparkling out to the bow, amongst this fourteen items programme list of specials.
This Fleur d’Ennui number, to overturn its title meaning, is a flower to be savoured.
Violin is prominent, in regard on the four opening numbers, where on In Paradise the guitars are in sentimental mood, and are lively on The Lady encompassing a nice string bass solo. They’re all Paradise.
Voices were raised when Benny Goodman introduced the piano accordion into his small groups, but noticeable as it is to the untrained ear on Gostosinho and Vespers the mandolin introduced by violinist Tim Kliphuis works wonderfully well, and whether it is included in another one, say, Vou Vivendo that will to say, rest with the voice of the cognoscente.
Having listened some years back to Barney Kessel when he played at London’s Royal Festival Hall, to Diz Disley at several concerts, Pat Metheny, whose playing was brought to my attention by Andre Amond, guitarist of South London, and several selected others, I know little of the intricacies of the instrument, but what I can say is, that a listening hour of this interesting, interlocking-lined music on offer on this album, lending itself to subtle player techniques makes its soundings, mirror like a broad gamut in the production of the guitar - a rewarding possession.
It was Laurindo Almeida, a Brazilian and classical guitarist who brought South American elements into jazz, I’m told. The Bossa nova Brazilian type tune Choro Negro because of its doucement, sedate movements, as I’d class it such over the Samba, partners well with Vespers in this regard, but what is unique in my observation on these two tunes, is the nice round tone quality of the string bass on them. It is likely that the embodiment of these two pieces was influenced during the times Fapy had spent with Charlie Byrd, who in the early 60s toured Latin America and recorded with Stan Getz making the Bossa nova popular in the USA.
After the 30 seconds of structural introductory bars, the opening chorus of When Day Is Done set my Traditional jazz dancing feet in hot motion to such extent that, even without a sip of a Double Scotch, in thoughts, this guitarist could very well turn the tables on New Orleans and Traditional jazz in becoming a front-line jazz artist leader of any such group extant here in Europe. Repeat; listen again, again, again.
Even on Vendredi 13 - for one of those things, mention your name.
Ian King
Kings Jazz Review
Thursday 14 March 2002