This boy who grew up all of a sudden, strolls gazing
elsewhere…
On the sax, he appears to be immediately in harmony with the instrument, he puts it in his
mouth and the magic of acoustic vibrations transcend the emotions of an audience
that’s been carried away.
A moving ecstasy.
Sitting at the piano, meditative or agitated, Frédéric P. Lallet fascinates. Gifted with
a superb independence in his hands and impeccable technique, rhythms and notes cascade and
crash in harmony unveiling his genius through this clever combination.
Quite close to divine, a musician is actually born as a channel through which he
communicates with a superior force, leaving behind unforgettable moments and eternal
resonance…
Frédéric P. Lallet, born in 1960, began classical piano lessons at the age of seven and
saxophone at the age of ten at the Regional Conservatory of Marseille. He received the
first prize in music theory and at 18, he decided to embark on the long trip to the United
States to somehow go back to the roots of that universal language called Jazz.
He stayed there 6 years, learning music in a manner in which he had always dreamt: at the
Dick Grove School of Music in Los Angeles and meeting all the great names of the stage,
i.e. Lou Lévy, Los Schiffrin, etc.
The communication among musicians would increase, quite quickly, above and beyond all
conscious technical limitations, to blossom into a unique language, a spiritual dialog, to
reach one goal: a communion of souls through art.
He likes being a risk-taker and looks for the same presence among other instrumentalists.
He is considered progressive in the practice of his music, encouraging, in this way, a
personal interpretation.
Frédéric P. Lallet feels free to ask himself questions about going beyond the
“comfort” status, and so, in his own way, he’s a nonconformist.
His fertile imagination, combined with a creative spirit, stimulates a will, a desire, and
I would even say, a duty to refine and to clarify his musical language as proven by his
compositions and his improvisations (spontaneous compositions). For, as it is for
everyone, the road to perfection even though it is necessary, it is also delicate. Also,
doesn’t he try to come closer to the creative source by means of his music?
Wouldn’t it be, after all, the real calling of the Artist?
Geniuses like Art Pepper or John Coltrane (Frédéric Paul’s favorite Jazz musicians)
came from the ghetto and shady bars and pubs; hostile universes to all sensitivity and yet
generators of exceptional beings. Frustration, moral and physical suffering, quite often,
give birth to artists.
For Frédéric P. Lallet, going on a spiritual retreat, during which he was deprived of
any contact with an instrument, was the catalyst for his musical concept and the trigger
to the mastery of his art.
For him, music is a gift and will remain a gift. Only an attitude of humility and respect
will allow him to achieve this joy of creating and sharing.
Whether its on the saxophone or on the piano. Frédéric P. Lallet continues to surprise
us…
Helyette Cacchia
Attachée de presse
In his album, “As it is”, recorded in New York, Frédéric Paul, on the
saxophone, continues his concept of not constantly using music that has already been
composed and arranged as the basic development for his improvisation.
Conscious of the fact that there are domains in which he hasn’t yet achieved his
goal, he shows, none the less, an impulse to keep his music free through his compositions;
free of all constraints and allowing it to breathe, live and frolic to its fullest.
Master of his technique and having assimilated Jazz history and its musical traditions, he
knows that this music doesn’t belong to him. His only real objective
is to withdraw and let it express itself and, in doing so, communicate different messages
while answering to the call of the gift.
Having pointed this out, it’s easier to understand the freedom of form of his
compositions. Sometimes a theme of 32 bars, another of 4 bars or yet another one of 2
bars, bridge, coda, repeat, introduction, tonality and modulation are not obligatorily
started, nor necessarily announced or interpreted, but one always finds this discourse
developing as the bars are played, becoming more and more intense as the other musicians
join in; and the last note, turning us into dreamers filled with wonder. And if all this
were true?
Concerned with using his talent as well as possible, he believes neither in violent music
that unleashes passions nor in political music. Art is, and should be, a spiritual and
divine language which allows man to catch a glimpse of his future through “the
flicking of curtains”, and consequently, must transmit it wisely.
Art and the Divine are only one, still it’s necessary to be able to rise above all
false truths…
Jazz, the true heartfelt cry, cannot exist without a work of individuality. To bring out
its originality within one’s own music requires maturity and courage. Courage to
remain true to oneself, whatever the fashionable style may be; courage of one’s
convictions to achieve an inner unity which will keep the creative source from drying up.
For such messages, when he started, Frédéric Paul felt the immediate need to surround
himself with artists (Eddie Gomez, Danny Gottlieb) who, if I may say so, don’t have
anything to prove musically. Each of the musicians knew the real motivations of this
recording and immediately agreed to take part in it. Although Frédéric Paul had already
recorded a duo with Eddie Gomez, the double bass player, it would appear that he is able
to adapt the musicians to the evolution of his music.
Surrounding himself with such accompanists allows him to concentrate more easily on his
message, knowing that wherever he may go they will always be present without interfering
with his technique. Evidently, Frédéric Paul allows them to express themselves freely
through splendid interventions while respecting their status as leader.
His music is beautiful, deep and its aestheticism is a question of taste. Any additional
definition would be inevitably restrictive and castrating. Jazz is felt and any
explanation would be amputating it’s essence and consequently, short-circuiting the
artist’s message.
It’s well known that we all perceive phenomena linked to spiritual evolution
differently, but each of us can, and should, see and hear through an art form. Frédéric
Paul’s music lends itself easily to spiritual vision and allows the dream to feed on
images, sensations and emotions.
To finish, I would like to quote James Bronson Jr., Grammy Award winner of best Jazz
artist producer by Down-Beat Magazine:
“Whether Frédéric Paul Lallet is playing the piano or the saxophone, it
doesn’t make a difference. His marvelous, unique music is in the groove and his
musical ease is at its peak.
Frédéric Paul has something that puts him above the other musicians of his generation
and is a unique sound; much like in the sixties when John Coltrane came up with a unique
sound later called “Sheets of sounds”.
There’s no doubt in my mind that Frédéric Paul is an innovator.”
J. Giovannai
Jazz Producteur
