Etienne Manchon Trio – Weird Life

Jazzfuel

The Etienne Manchon Trio has been pushing its progressive take on jazz since 2018. This is their third album with the settled line-up of Etienne on piano and synths, Clement Daldosso on bass and Théo Moutou on percussion.

On Weird Life, they take this opportunity to fully exploit their delightful interplay on ten Etienne originals and a run through Wayne Shorter‘s “Iris”. Although they are nominally a jazz trio, a lot of other influences filter their way into the sound and it makes for an album that never settles, as it constantly searches for some fresh way of musically describing their relationship.

The power and momentum of the opening track “Regard Noir” makes you take a breath, but the joy they clearly find in playing together is always apparent. The wibbling synth tones give an adventurous ’70s vibe, but the skipping drumbeat and complex percussive drive is much more contemporary. You can feel it pulling in both directions and also urging the listener to hop on the floor. It carries an irresistible groove and that sense of dancefloor desire appears at times all through the album.

As the album progresses, the switch between synths and piano gives it a more varied feel; the classic jazz trio sound of “Askja”, with its brief nod to Bill Evans, still manages to go a little off-piste, with Clement’s bass supporting the sudden staccato attack. It is still smile-inducing stuff and Etienne’s capricious approach to the piano is irresistible as we hear him chasing thoughts across the rhythmic landscape.

There is a touch of introspection on “C’est Bientôt Mon Anniversaire” and the percussion creaks like the rigging of a ship while the gassy progressive synths on “Roadtrip” share a similar aesthetic to Air. It has an easy sound, but there is still rhythmic invention with a liquid bass solo that just about prevents the lighter-than-air synths from drifting into the cosmos.

I have to admit, there are sections where I am reminded of classic ’70s piano singer-songwriters like Barry Manilow, particularly on the dreamy “Daldosse Donne Des Ailes” and there is a freewheeling thrill to the reckless abandonment of the piano playing on “Big Up Catherine” which really reminded me of “Summer, Highland Falls” by Billy Joel. It is fantastic that all these influences crowd into this album, pulling it this way and that but not sticking around for long enough to think you have their number.

There are classical motifs on “Seshipo”, while “Early Flight” gives you an idea of how they might hijack a Bond theme, its sensual gravity providing a bit of a comedown. There is even a burst of some slightly arrhythmic freedom on “Patou”, which shows yet another facet. There is harsh, deep stomping as the lighter notes cluster and scatter. This freeform tumble drags the ever-ready rhythm section with it, the drum kit having a particularly effective workout with lots of cymbal splash. As a composer Etienne is nothing if not adventurous, turning on his heels at any opportunity with every track taking a fresh route home.

Weird Life is just a lovely imaginative album with moments that light up the day. In fact, there is a section in the ever-ascending “Annexe 9.5” where I had a wistful memory of “Suburban Love” by Japan; the similarity is in its constant search for the clearest of blue sky and the palest of Pacific sand, a sense that the vortex could raise you up indefinitely and if it never ended, that would be too soon. It was a brief but incredibly welcome thrill and just went to show how wide-reaching the the evocations of the album were.

The album drifts out on the most introspective piece and the only cover, as if they need to rely on another composer to bring the tempo down a little. They do add a little mischief to Wayne Shorter’s “Iris”, but it is a lovely way to end. If the trio carries on this way, there will be no barriers left at all and that can only be a good thing. Even better is that you certainly don’t need to be a jazz aficionado to enjoy this. There is something for everybody and long may that continue.

-Mr Olivetti-