Search - :: Credo

Astonishing Debut Record

Troy Collins | Lancaster, PA United States | 03/23/2006

(5 out of 5 stars)

""Renku," released by Playscape in 2005, was saxophonist Michaël Attias' first domestically available album as a leader, so "Credo" comes as a bit of a surprise. Recorded in 1999, but previously unreleased, it is the debut recording of his quartet/sextet. And a stunning debut it is. More edgy and invigorating than "Renku," with strong guest appearances, this early effort is a truly wonderful discovery. Attias has a crack group with him that is every bit as adventurous as he. The multi-instrumentalist leader sticks to alto sax for the majority of the album, joined by trombonist Reut Regev as his front line partner with bassist Chris Lightcap and drummer Igal Foni as his dependable rhythm section. The core quartet blossoms into a sextet on half the album when joined by violinist Sam Bardfeld and Mark Taylor, playing French horn. Ably produced by Good and Evil in Brooklyn, the album also has a sonic punch to it that some acoustic jazz albums sorely lack. Full of hard charging rhythms and gorgeous melodies, this newly unearthed gem is essential listening for those with ears to the future.



With half of the assembled musicians hailing from Israel (including the leader), it comes as no surprise to find that many of the tunes employ shades of the distinctive melodic characteristics of Yiddish folk music. While the Radical Jewish Culture movement is now well established in major metropolitan centers, these tunes only hint at that sort of fixation. Attias merely uses the ancient scales and buoyant chord progressions as a launching point to shoot headlong into the future. These tunes are more than just fashionable Downtown/East Village fare. With numerous Mingus inspired shifts in rhythm and tone, and rich multi-horn arrangements, Attias proves his mettle as a composer as well as an improviser.



Opening strong with the title track, the full sextet blends a pseudo Caribbean rhythm with a snappy, staccato, Sephardic melody. Attias shows his hand right from the start with an intensely circuitous alto solo that spirals out into altissimo abandon. With a judiciously arranged front line, "I's" invokes a phantom big band charging headlong into a maze of turn on a dime shifts in tempo and tone. The rhythm section drops out halfway through for a show-stopping accapella duet between trombonist Reut Regev and French hornist Mark Taylor that is as melodically engaging as it is exploratory. "Dream That Darn" features one of Regev's finest trombone solos, one that reveals a mastery of the instrument far beyond her mere 18 years at the time of this recording. Regev has since gone on to record with Assif Tsahar, so hopefully the world will get to hear more from her in the future.



Attias knows when to let his sidemen shine. Mark Taylor's dulcet French horn gets a nice solo feature on "Mes Petites Amoureuses" and Sam Bardfeld's lyrical violin absolutely soars over the fleet rhythms of "Hot Mountain Song." Attias even breaks out his baritone for a short but rousing bit of rough-housing on the roiling "Labat." The album closes with "Berechit," an equitable merger of Eastern and Western concepts. Frenzied, intervallic horn lines weave in and out of a modal, African-ized polyrhythmic groove that is equal parts Gnawa inspired drumming and sinewy, guimbiri like bass ostinato.



Unflinchingly joyous and upbeat with excellent arrangements, adroit rhythmic interplay and passionate improvisation, "Credo" is an early contender for one of the finest albums of 2006."