Kezdetben vala a nagybőgő...
In the beginning there was the contrabass...
Then came the men who revolutionized it: In one world these were men such as Domenico Dragonetti and Serge Koussevitsky and a slew of others including Francois Rabbath, godfather to the modern chamber bass Joel Quarrington and others. From another world came Jimmy Blanton, who begat Charles Mingus who begat a slew of others from Scott Lafaro to Red Mitchell; even perhaps Jeff Sarli and others… Then came Renaud García-Fons, who melded all of this together , swathing it all in the diaphanous gown of a whirling dervish and a man who, setting out from the Mediterranean to the world of everything from flamenco to the voices of the Romani of Hungary and elsewhere. García-Fons the great bassist who would claim origins from Catalonia and France and who then spread his wings so wide that he flew, metaphorically, touching the ends of the world.
García-Fons—the only other bassist like him today is Glenn Moore of the group, Oregon—is the epitomé of a modern bassist who has drunk from the well of the ingenious spirit music of the world. His music, albeit flavored by the Mediterranean, is impossible to put into a category. His is a music that is at once classical and oriental—and it swings like made, which brings it into the realm of jazz. But then it is also Spanish and all things Latin in its soul and intellect. Lest that sound as if García-Fons’ music is slightly stilted it bears mention that it also shuffles and swerves like music that precedes the main samba or a rumba event. Perhaps the only thing that can be said about García-Fons with any degree of certainty is that he is technically such a virtuoso that it might take another generation to reach his level of proficiency. Like Mingus, before him, García-Fons plays both pizzicato and con arco as if he were speaking to the strings from deep within his soul; or that he were just a medium through which the Divine Spirit were pouring out liquid music from a deep and eternal source. With fingers moved by God, as Mingus once said...
02.Luces de Lorca
06.La Demoiselle De Céret
18.Poussière de Ksar
Accordion – David Venitucci Bansuri, Flute [Alto Flute], Bass, Bass [Octobass]– Henri Tournier
Clarinet [Clarinets]– Bruno Sansalone Double Bass, Tambura [Tanbur], Udu, Bendir, Cajón, Daf – Renaud García-Fons
Flamenco Guitar – Kiko Ruiz
Goblet Drum [Zarb], Tambourine [Rik]– Bruno Caillat
Lute [Baroque Lute], Theorbo, Tar (lute), Zither, Bouzouki – Claire Antonini
Tambourine [Rik], Goblet Drum [Derbouka]– Adel Shams el-din
Vocals – Solea Garcia-Fons (tracks: 4)