Aerophone – Quatrième Souffle

Titled Quatrième Souffle, this latest work offers a fresh illustration of the possibilities available to a combo without harmonic instruments, much like a compelling exploration of the experimental territories unlocked by trio artistry.

The musicians seek authenticity here — an innate sense of play rooted in the choice of setting: the Blue Perry Jazz Club in Blanzaguet Saint Cybard, Charente/France. Renowned for its exceptional acoustics, this venue externalizes jazz’s plasticity, escaping the obligatory urban studio setting in favor of an oceanic creative space that is outward-looking and globally engaged.

The original compositions celebrate, in their own way, a seasoned mastery of tantric wordplay, bordering on dadaist logic—a spirit reflected in titles like “Hippocampal Oaths” and “Night Bloom.” Yet, the core of the project lies elsewhere: in the swirling richness of a mastery dedicated to a form of relative absolutes, an fiercely fought freedom seamlessly woven into a broader corpus—evocative and expansive, marked by harmonic liberty, free improvisation, and exogenous tensions fueled by flames and melodic accents.

In this context, tracks like “Teanek” and “Éclore” exemplify a new kind of freedom—rich in foundational rebirths and sonic upheavals—that charts a deeply personal and collective journey. Meanwhile, “Du Jour au Lendemain” and “Au Temps Pour Moi,” rather than following their presumed tempos, serve as manifestos of relaxation—merging calmness with boldness in a melting pot shaken by rhythmic breaches.

On “Aura,” the interplay among the trio leaves behind the scattered impressions of previous tracks—affirming a spontaneity and detachment reminiscent of Eastern metaphysics. Their synergy evokes the meeting of Don Cherry and Ornette Coleman, Albert Ayler’s unrestrained freedom, with caressed or slapped strings, tense strikes or soft brushing, raucuous or clear breath—echoing Archie Shepp’s “Sometimes I Feel Like a Motherless Child,” straddling gospel, free bop, and blues.

It’s tempting to comment on Yoann Loustalot’s smooth tone—somewhere between Freddie Hubbard and Kenny Wheeler—or to marvel at Blaise Chevallier’s delicate yet precise filigree work, or to recognize Fred Pasqua as one of the finest percussionists in the scene.

In this regard, the centerpiece “Poisson d’Avril” encapsulates what Aerophone brings to the musical world better than any lengthy discourse: a future shaped by potential, innovation, and risk.

This is a stunning record—beautifully recorded and produced—that stands as perhaps the band’s strongest work to date.