|21 Jan '18||Newcastle,UK|
|26 Jan '18||Luxembourg, LU|
|27 Jan '18||Differdange, LU|
|31 Jan '18||Luxembourg, LU|
|02 Feb '18||Keispelt, LU)[http://polbelardi.com/shows/](Beaufort, LU|
|03 Feb '18||Keispelt, LU)[http://polbelardi.com/shows/](Beaufort, LU|
|17 Feb '18||Ernzen, LU|
|27 Feb '18||Berlin, DE|
|17 Mar '18||Marne, FR|
|24 Mar '18||Luxembourg, LU|
POL BELARDI’s FORCE – CREATION/EVOLUTION
In the end it is about space, about the extension of music along the axis of aesthetic perception. Where others abstract, Pol Belardi gets concrete, creates structures, sometimes emotive, then again thoughtful, lingering, contrasting, questioning. There are correspondences of great and small and vice versa; the dramaturgy of the songs allows both an arc of suspense to span all the pieces and details of each to shimmer forth, unfolding into the chamber jazz-like or combining with rocking, modernist jazz associations. Belardi is thus able simultaneously to explore the process of development itself and to present results that interact melodically and in diverse timbres with the improvisational tonal language of today.
This is made possible by a team that congenially follows him into the range of individual creative potential. The centrepiece is the quartet around the bandleader and his pointed, precise, solidifying bass, which along with the impressionistically shimmering play of pianist Jérôme Klein, the unagitated modernist phrasing of saxophonist David Fettmann and the stylistically flexible percussion work of Niels Engel, fills in the composition. But much also depends on the guest performers. The guitarist Riaz Khabirpour finds the appropriate mixture of rootedness in powerful sounds and fine ornamentation. The Kaiser Quartet adds both traditional classical tonal colours and their humorous relativizing. Thus music emerges that occupies its own place, not fixed by jazz-stamped patterns, and is at the same time sufficiently self-confident to assert itself amidst the variety of options.
Photography © Sven Becker