TWO NIGHTS WITH THE MAESTRO: MARTIAL SOLAL

As I expected it was a tremendous learning experience to play four duo sets
with Martial Solal in Paris a few days ago. First of all because of my age and
position, I either play most of the time with younger musicians or peers
(Saxophone Summit for example). But Martial at 88 years young and
DEFINITELY comes from another era. As I have described putting together
my newest group “EXPANSIONS” each generation in jazz has and does
have a different vantage point, most specifically rhythmically and
harmonically speaking. Martial comes out of the be-bop and even pre-bop
eras in some respects, especially the piano tradition of Tatum, Bud Powell, a
bit of Monk, even Teddy Wilson in some respects. I have never played with
anyone, for sure not in the most intimate of settings which is duo, who is
truly a child of the 1930’s through the 1950’s. To be overly general, what a
fourth voicing (McCoy Tynerish) is for me, a dominant seventh is for that
generation.
This created quite a challenge and I will admit that at times I had no idea
what he was playing either behind me or during his solos. His almost
constant reharmonization is out of this world. After the gig I was exhausted
in a different way that I sometimes am, not so much physically because of
travel, early departures, etc. In this case I was “thinking” like crazy, trying to
find a way through. In the harmonic realm besides the be and pre-bop
language he plays, Martial also sprinkles a scattering of 20th century
classical dissonances around, which might happen at any time. In fact,
ANYTHING CAN HAPPEN AT ANY MOMENT!! I can really feel the
experience someone from the Golden Age of jazz had playing every nite,
which Martial did for years in Paris backing everybody in jazz who came
through. His mind set is sort of “anything goes” at any moment. This could
mean harmonically, rhythmically and even the form or structure of a tune….
staying in one place for a minute before moving on, etc. As Wayne Shorter
so aptly titled one of his recent recordings, Martial plays “WITHOUT A
NET,” ready to jump off the cliff anytime.
(Small story note: Wayne and Martial played duo sometime in the past years
I think in London; Martial said Wayne refused to talk at all about the music
before they played….anyone have that concert?)

There were definitely moments of great communication, especially on
ballads and when playing free, which places Martial in a more advanced era
than some of his peers because you could definitely feel that he enjoys
playing that way, even extended moments sometimes. Of course his
technique is limitless and way beyond the norm; here he is definitely a child
of Tatum and Oscar Peterson. The rhythmic feel can waver between very
legato and quite staccato but definitely with a different shall I say “lilt” than
my generation. Sometimes during the playing he will insert a kind of off
beat vamp, which is quite interesting in the implications that who knows,
could lead to a different approach playing with him in the future?
It goes without saying he knows a million tunes in any key, something those
guys all did as a matter of course. He also expressed his wished to repeat
tunes, even on the same night. This is another point that I understood from
my time with Elvin Jones and Miles and I think in general from that
generation…if a tune works meaning musicians enjoy playing it and the
audience “gets it,” then why not, and by the way how about really learning a
tune? I know for me I am always looking for variety through at the least,
change of material. In any case we did repeat some tunes even in the same
night. Obvious point….the audience changes so it is new for them.
Finally, Martial has a touch that ranges from the most delicate to forceful
especially when he descends into the low register for some cluster colors.
Besides standards we each brought two originals. From my side he chose
G.I.G. which is a ii-V type tune that I wrote for George and Ira Gershwin;
the other called “Cosmos” is a rubato ballad with straight ahead type chords.
Martial’s “In and Out” was a beautiful ballad which after a wonderful
melody became a complete free improve, something I wasn’t quite sure how
to approach to be honest. The other one (French title) was a real challenge
rhythmically. Unfortunately on the second nite my soprano copped a plea
and I played the whole performance on tenor which in some respects
presented a challenge of tessitura, meaning range between the tenor and
piano….a technical matter which did affect playing this composition.
Above all, from the purely personal, non-musical side, this man is one of the
sweetest guys I have met. He was generous to me, open to suggestions,
completely relaxed on the bandstand (some banter in French which often had
the audience chuckling) and with great stamina, not just for his age…. I
mean in general. He told me that he had stopped practicing in recent times
after some medical problems and believe me this guy is a practicer!! He is
the father in law of a close friend, sopranoist Jean-Charles Richard.
Sometime in the spring if I recall, I had dinner with the family and magically
this lead to a desire to play with me. It appears he “warmed-up” in concert
with one of his oldest compatriots, Lee Konitz. These two guys go way back
and have performed in duo countless times over the decades. In fact, I found
myself more than once asking inwardly WHILE PLAYING, what would Lee
do?
All in all it was a tremendous learning experience and in its way historical.
After all Solal is probably the best known European artist internationally-
speaking over 60 plus years and it was an honor, a privilege to meet and
make music together. Of course the audience in such an intimate setting as
the Sunside is really enjoyed it…and when it comes to serious jazz lovers,
Paris is one of the best.
I will never forget my two days with the true MAESTRO! Thank you so
much Martial for your generosity of spirit.
Thanks (merci mercy merci!) to Martine Palmé for her professionalism
putting this together; Agnès who is the sound lady at the Sunside and the
boss of the club, Stéphane for their help; and of course Jean-Charles Richard
and Jean-Jacques Quesada….as always.
(From what I understand one set of the concerts from the second night will
be on the web through Radio France for New Year’s Eve. Details to follow
close to the date.)