Black and Blue presents

EVANESCENCE

The new album in solo by

CLAUDE TERRANOVA

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“ or this album, I wanted to find a music which was multiple,

inclassifiable, constant and moving, able to use any kind of themes to bloom, very simple tunes, or even some sophistication ones. Nothing is set beforehand, everything is based on looping for somesthésie unheard of. My idea was to use a piano as a hardly perceptible breath but also as an orchestra which would onely use its power to caress. For this piano, I looked for a music which would be at the same time melodi ous and full of percussion. My idea was to surprise thanks to the diversity of the colours, of the universes constantly renewed by playing without any stylistic restrain on the range of numerous cultures. I have decided to take the risk of creating entirely new titles on the spot. It was my idea to submit brio to sobriety. Solo enables me to play all the roles at the same time, to play all the instruments at the same time, to play back and forth with silence according to my fancies, with the only justification of instant beauty". Claude Terranova

P our cet album, j’ai voulu une musique “plurielle“, inclassable, constamment en mouvement, capable d’utiliser n’importe quel support pour s’épanouir : une thématique très simple, voire dérisoire, ou des thèmes très travaillés. Rien n’est jamais fixé, mais tout est axé sur la recherche de l’inédit. J’ai voulu un piano, utilisé comme un souffle à peine perceptible, mais aussi comme un orchestre, qui ne se servirait de sa puissance que pour caresser. J’ai voulu pour ce piano une musique à la fois extrêmement mélodique et percussive. J’ai voulu surpr e n d re. Surpr e n d re par la diversité des couleurs, des univers constamment renouvelés, en jouant sans aucun frein stylistique sur l’éventail de multiples cultures. J’ai voulu prendre le risque de créer entièrement certains titres sur l’instant. J’ai voulu mettre la virtuosité au service de la sobriété. Le solo me permet de jouer tous les rôles à la fois, de jouer tous les instruments en même temps, de pou voir jouer au ping pong avec le silence au gré de mes envies, en ayant pour seule justification la beauté de l’instant. Claude Terranova

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Claude Terranova started to learn playing piano when he was very young. At the age of thirteen, his dad initiated him to the composition and then he became Julien Falk’s student. He continued his training with Marie-Claire Laroche (Aldo Ciccolini’s assistant at CNSM) for the piano and with Solange Chiapparin (Teacher at CNSM) for writing and composition. But very quickly Jazz became his first passion. He met Christian Rameil (a pianist in Claude Luter’s band) and worked with him on Art Tatum cylinders. Rapidly he joined Claude Tissandier’s Quartet and set up the “Funk Jazz Quartet”and the duo “Terranova-Souverbie” (which won a price at the Defense’s competition). Definitly seduced by modern Jazz and fascinated by all forms of improvisation, he explored the Trio form with Claude Mouton and Olivier Le Goas and then composed for and played with Pierre Blanchard Gulf String. He has also played in a Duo with Christian Lété, he’s a regular guest of Louis V igneron Big Bang “ Vents contraires”, and he has been playing with the “TLB” Trio which includes Tony Bonfils. Attracted by different cultures, Claude Terranova created the goup called “TouKouleur” with Pascal Teillet, Arnold Mouéza and Cyrill Atef. He is also involved with Etienne M’Bape in the Sextet of Abdou M’Boop, plays in the Pete Osborne’s quartet and Philippe Maté’s one. As an arranger Claude Terranova’s worked with names like Martial Solal, Guy Pedersen, Daniel Humair, Eric Barret, François Laizeau, Jean-Louis Chautemps, François Jeanneau…. His first album in solo called « Evanescence » offers today a fantastic mixed of all his experience. Claude Terranova commence très jeune l'apprentissage du piano. A 13 ans sont père l’initie à la composition, puis le remet entre les mains de Julien Falk. Il poursuit sa formation avec Marie-Claire Laroche (assistante d’Aldo Ciccolini au C.N.S.M.) pour le piano et avec Solange Chiapparin (professeur au C.N.S.M.) pour l’écriture et la composition. Mais bien vite le jazz s'affirme comme sa passion première. Il rencontre alors Christian Rameil (pianiste dans l'orchestre de Claude Luter) et travaille avec lui sur les rouleaux d'Art Tatum. Franchissant rapidement une nouvelle étape, il intègre le quartet de Claude Tissandier et monte le “Funk Jazz Quartet“ et le duo “Terranova – Souverbie“ (primé au concours de la Défense). Irrémédiablement séduit par le jazz moderne et passionné par toutes les formes possibles d’improvisation, il explore le trio avec Claude Mouton et Olivier Le Goas, puis compose et joue pour le “Gulf String“ de Pierre Blanchard. Il joue aussi en duo avec Christian Lété, est un invité régulier du big band “Vents contraires“ de Louis Vigneron et se produit avec le “trio TLB“ en compagnie de Tony Bonfils. Attiré par de multiples cultures, Claude Terranova crée le groupe “Toukouleur“ avec Pascal Teillet, Arnold Mouéza et Cyrill Atef. On le retrouve également aux côtés d'Etienne M'Bape dans le sextet d'Abdou M'Boop, au sein du quartet du saxophoniste anglais Pete Osborne et de celui de Philippe Maté. En tant qu'arrangeur, le nom de Claude Terrranova est lié à ceux de Martial Solal, Guy Pedersen, Daniel Humair, Eric Barret, François Laizeau, Jean-Louis Chautemps, François Jeanneau…. Son premier album en piano solo, “Evanescence“ offre aujourd'hui une synthèse éblouissante et inspirée de ses multiples expériences.

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Among

the pieces selected in that concert, we can find: “A foggy day”, “I love you Porgy” or “A night in Tunisia” which the artist reconsiders from a new angle, close to Martial Solal’s. Standards are an endless resource for those who try to give them an original shape. Elia Kazan said about Brando: “he is able to express even the tiniest feelings”. Art for a jazzman is, maybe, when confronted to a monument like “Blue in Green” to add or subtract minutes particles without harming the structure of a theme, and when transformation is even bigger to leave at least its foundations.

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compose is a diff e rent matter. It’s the continuation of one’s reveries. A few titles here were composed on the spot (Azur, Agua do Brazil).These fleeting pieces show its composer’s creativity. Because of the urgent n a t u re of live concerts, they give flesh to jewels such as Gillespie’s’ or Gershwin’s. With much enthusiasm, Terranova explores the limitless treasures of his instrument and relies on silence, ther e f o re encouraging a true intimacy with his audience.

We

enjoy his confidential expression.The man, who one day, came across a dear friend and then, the next day his mates in the military can understand what I mean. Philippe Deneuve.

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"évanescentes" as in the true reappropriation of the topics of the repertory.

Terranova

as a Master in the art of the nuances varies the climates different and tangled up in the spirit of Keith Jarrett. Claude Terranova manages to give the impression sometimes to us that a true rhythm section accompanies it before the humming of the low registers is not erased again with the profit of the melody line.

Model

of control as regards harmony, its reading of Night in Tunisia is a true rediscovery. Monument of inventiveness. And that to say of Carmen played to the manner of Petrucciani. Terranova is never parodied even, always seeks to him to explore à.fond all that a topic to tell little. Conversely nothing prohibits to explore a topic in the destitution.

One

never heard a version as upsetting as that of I coils you Porgy. A stripped version, simplissime but with this indescribable supplement of heart where the expression of what is known as (this declaration of love with Porgy), transcends its musical expression. Behind the last played note, it is most beautiful of silences which resounds and prolongs the music. Time in suspension.

And

when a pianist manages to use his art with the service of such an emotion, when obviously it transmits to its public such a love of the piano, such an intelligence of the topics, when silence merges with the note and invades the heart he is then question of another thing only of division and listening. Jean Marc Gelin

Claude Terranova delivers here a moment of piano to us solo taken on line in Montreuil at the time of one evening organized by Amnesty International.

One moment of pure state of grace as one knows little of it since Köln Concert. The pianist alone on scene gives here to understand a register impressing not only his art of the instrument but also of his love of the piano in jazz. All was known as there this evening. All played registers, as well in its own compositions

H e re

is a beautiful lyrical surprise: Claude Terranova knows how to har monize the most frequently played standards with taste and firm sense of colours.

Listen to his variations on “Carmen” by Bizet or “A foggy day”. His own themes show an open

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sensitivity (El D j a z a i r,Agua do Brazil) and a delicate touch in “Evanescence”, “Miniature aquatique”, “Dans un rêve”). Jean-Pierre Jackson

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Claude Terranova is a pianist and a composer. He re c o rded half a dozen pieces during a concert in Montreuil.

It was a way of telling us about his contrasted experiences in which his reveries takes full shape.

It sounds more like the creation of a universe where he defines his concept of beauty expressed in most of his compositions.

The pianist Claude Terranova has been going solo for a long time. At last he has issued a CD in which he can share his love for his instrument and the b e a uty of music with his audience.

He

gives free way to his reveries in original compositions and improvises with delightful harmony.

This expert in romanticism can also appeal to us when he plays standards such as “A night in Tunisia” or “I love you Porgy”

A great discovery. Gérald Mathieu

Whether inspired by his native town, Brazil or Tunisia, the same poetical atmosphere is created by notes which he makes sparkle with colourful hues. Most of the re c o rding comes f rom a concert in favour of Amnesty International, organized in Montreuil. This is certainly the reason why the stories told by Claude Terranova through his music are so full of emotions.

No doubt that this CD is not only the expression of a fine skill but most certainly a desire to explore other worlds, to express moments of frailty and tenderness.

P oetical

and magical moments.

Agnès Jourdain

Architect

of the moment, resolutely turned towards the jazz, Claude Terranova signs here a first album solo, synthesis of his multiple experiments.

Admittedly, it studied the large pianists of the jazz, Art Tatum inter alia, but especially Martial Solal, which one finds the influences on "Night in Tunisia" of Gillespie !

Claude Terranova takes a certain pleasure to emphasize his melody ideas. Jazz generous, astute, with a very harmonic side, which does not waste anything, and which is stretched langoureusement on the slow or fast tempos.

A disc completely engaging in the topicality of the pianists "solo" It is the pledge of an artist without limits who did not finish astonishing us.

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l a rge disc of solo, it is very rare. Yo u p recipitate ! Christian Delvoye

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I nner

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trip on known g rounds: Blue in G reen, Surbrillance, Azur…for their colours; A Night in Tu n i s i a , Agua do Brasil, El Djazair…for their territories.

and this delicate emotion distilled by silences with the turning of many notes. Without question, Claude Terranova is a name to be retained and follow.

In

Etienne Payen.

this first solo album (essentially r e c o rd e d during a concert organised by Amnesty I n t e r national) Claude Terranova (who has had a thorough classical training and is endowed with a firm touch) gives himself up to his reveries, improvising without affectation on a few standards and a handful of original pieces.

This recording releases a pure and fleetingly delicate emotion. B. de Witte

Evanescence is a successful bet.To enjoy !

After

a thorough training in classical music (piano, composition and writing) Claude Terranova discovered the delights of playing jazz with Christian Rameil, a pianist in Claude Luther’s orchestra with whom he worked for Art Tatum.

Now he is focusing on contemporary jazz.

JAZZ

IN

BELGIUM

BRUXELLES

Musician with the atypical course, the French pianist Claude Terranova does not remain about it less one reference. A symbol of quality which will have waited 20 years before engraving "Evanescence", its first album in solo, too occupied taking part in the projects of other musicians (Daniel Humair, Martial Solal) where to exert its spirit curious in artistic kinds as varied as the ballet and the music about opera. 20 years for this first "baby", fruit of the meeting of the experiment and maturity.

He has founded the Toukouleur musical band, played with the English sax player Pete Osborne and taken part in the successful Golf String band founded by a violinist, Pierre Blanchard.

He

has just released a major CD, a live recording entitled “Evanescence” (issued by Night and Day) Jean-Luc Caradec.

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Evanescence is a succession of compositions of the "Master" and improvisations of large standards (I coils you Porgy, has night in Tunisia) recorded into live and with the piano-solo.

this first live piano solo re c o rding,Claude Terranova takes us on a brilliant, spellbinding journey, the reflection of a complex itinerary, laden with the multiple influences and encounters which have marked his jazz car e e r.

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the start, the attention is titillated by the quasi academic dexterity of Claude Terranova, his direction of the i m p rovisation which does not draw t o w a rds soporific lengths, by its s e n s u a l i t y

is a musical melting pot with sparkling colors, where emotions rise then ebb according to the pianist's sensibility, emerging elsewhere, further away, in a continuous metamorphosis, where

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the piano yields to powerful and evanescent poetry.

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album is the response to Claude Terranova's boundless desire to tell stories, his own stories... His story.

A story where the freedom of playing is open to temerity in many forms. J-F Pelatan

TEMPO>> As of the listening of Evanescence, first title of the disc éponyme, Claude Terranova plunges us in the heart of his sensitive world. Interpretation of standards jazz or register personel, this disc solol leaves a significant share to the moment, with its own breathings.

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Claude Terranova shows thousand times more inspired in the second reading of stainless standards... Some of the effects which it employs then point out those of its Italian counterpart Stefano Bollani (and the compliment is not mean). In "Agua C Brasil", the pedal sustain makes it possible the dissonances (remote echoes of samba) to be superimposed on the central topic. If the reharmonisation of "Carmen" is more foreseeable, dishevelling it "Night in Tunisia" proves that Claude Terranova is an owner on his keyboard.

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a step close to Martial Solal, with tatumesques accelerations and enjôleuses conclusions with the Ahmad Jamal, Claude Terranova has sufficient bottle to put the audience amazed in his pocket. Thomas Marcuola

Ag reements

at the end of the bre a t h , dissonances and attacks build the arc h of its reserves, the controlled suspensions of its silences. Didier Vayne.

... Rhythmic prevails on him. Claude Terranova shows his sense of contrasts and his extremely wide range of means with conviction. ”Night in Tunisia” is one among many examples of interpretations whose stylistic approach gets a lot of supporters – as shown by the loud applauses from the audience –. Stéphane Carini

Claude Terranova introduces his Evanescence last-born child. With a similar name, exploration seemed indeed very indicated for the pianist. Maximum taking risk: re c o rding in solo and public, with a big part of compositions in the moment. Those are located in a vein jazzo-debussyste, a little systematic.

Franse Jazzpianist Claude Terranova is een operating !

Alsof het er nooit van zou komen. Kenners wisten allant dat de Franse Jazzpianist Claude Terranova een Geweldige solist is. Tochkon niellage hem verlainien sonder collega’s de studio in te gaan. In Montreux liet hij zijn spel tiens een benefietconcert voor Amnesty International eindelijk vastleggen voor een solo-cd. Dat album deaagt de titel Evanescence en is meer d e re opzichten een operating. Terranova staat muziek voor ogen die constant in beweging is. Hij wil meedere stijlen doorkruisen, van klassiek tot blues, van bebop tot free jazz, en uit zijn piano het b re e d e r mogelijke palet aan klankleuren halen. Daar slang hij met gemak in. Daarnaast is hij ook in staat om allerlei conventies te doorbreken en je als luisette voortdurend te verrassen. Neem bijvoorbeeld zijn variaties op een thema uit Carmen of A Foggy Day en I Love you Poergy van Gershwin. Onder deze standards w e e t h i j z u l k e v e r r u c a i r e harmonieën te plaatsen, alsof nog niellage op deze thema’s heeft geïmproviseerd. Wat deze cd bovarysme fascine rend maakt, is Terranova’s gave om in zijn pinissimo’s als een impressionist te toveren met de subtielste halftinten. Weinig pianisten fluisteren met zoïle overtuigingskracht als Terranova, die met dit recital zijn naam alle eer aandoet. Een uitzonderlijk geslaagde live-cd. Dimitri van der Werf.

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