dissipatin' by iordache

happy new earsno more wrote on May 06, 2007

If you happen to think that jazz music belongs to a zone that is unreachable for your ears (which would have to be polished beforehand with a healthy dose of Charlie Parker or Miles Davis, to face the fun) or if after having been trained by the masters' saxophones and trumpets you still tend to resist, it means time is ripe for you to buy "dissipatin'". It's not that iordache stopped playing jazz, or that jazz itself has suddenly become, by who knows what funny transformation, some naive and unpretentious ditty. No. The point to this story is that, unlike his first album "friday" - which was quite demanding for the tastes of those not accustomed to the introspective side of this genre - iordache's "dissipatin'" is 100% today's music (...). The musicians you will hear are not the kind you usually see on TV, yet they are absolutely perfect. I'm talking about (as they are listed on the CD cover) singer Marta Hristea, tenor saxophonist Cristian Soleanu, guitarists Eugen Nutescu and Sorin Romanescu, Raul Kusak on the Hammond organ and Moog, bassist Vlaicu Golcea and drummer Vadim Tichisan. It's easy to realize what this list means, if one keeps in mind that Hristea, Romanescu, Kusak and Golcea are also a part of Aievea, an extraordinary band (...). The album's sound is full of tasteful professionalism, and iordache's wandering saxophone is in turn edgy and dark, testing harmony's limits ("Gloomy Sunday"), nice and demure ("You Know It's True"),cheerful ("Up"), scented and romantic ("Time of our lives"), introspective and minimalist ("Fig Tree"),daring and spectacular ("Tu n'as rien vu a Schaerbeck"), rhythmic and humourous ("Recycle") or simply mainstream ("Dissipatin'") and is skillfully supported by a virtuoso guitarist - Eugen Nutescu from the rock band Kumm - the elegant bass playing and electro touch of Vlaicu Golcea, the classical and progressive logic of Raul Kusak, the brotherly and passionate exchanges with Cristian Soleanu and the floating, velvety voice of Marta Hristea. The chances that this cosmopolitan and savoury mix would become monotonous are zero. Even the album's construction, apparently heterogeneous when it comes to the sequence of tunes, juggles with different moods as if to make sure nothing will be repeated. The result is a kind of jazz which is both refined and perfectly intelligible, and which - the way it sounds in "Tu n'as rien vu a Schaerbeck" and "Fig Tree" - even a casual listener could adore.

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