In addition to playing in the Orchestre de Suisse Romande, Truffaz played in cover bands while also writing his own jazz-infused music. This led him to study music at the Geneva Conservatoire in Switzerland where he learned to perform classical works by the likes of Mozart and Verdi. As his technique grew, Truffaz linked up with other bands before being introduced to Miles Davis’ classic Kind of Blue album. He took up the trumpet as a youngster and joined his father on the bandstand. Read moreīorn in 1960, Truffaz was inspired to play music by his saxophonist father who led a dance band. The Walk of the Giant Turtle features Truffaz and company delivering fluid groove tunes like the lead-off “Scody (Part 1)” and “Scody (Part 2).” Also in the mix are lyrical beauties such as the slow-and-stretched “Turiddu” with seductive bass line and Rhodes atmosphere, the coolly alluring “Belle De Nuit,” and the captivating title tune that is at once delicate and spiritual with a gently sketched trumpet melody and Ravel-like piano counterpoint. Throughout, Truffaz soars above the combustible mix. ” The tunes teem with pockets of tension/release, rich sound textures, distortion and even Hendrixian guitar-like exchanges. Secondly, Truffaz said that he came of age as a rock fan: “I listened to Led Zeppelin much more than Miles Davis. First, Giuliani is the guitarist in a rock group named Aquarius.
He remarked that the music “is not too cerebral.” He explained that the rock-fueled passion and power on three tracks (the heavy rocking, abrasive “King B,” the wah-wah-driven “Next Door” and the crunching/ cooking “Seven Skies”) came from two sources. In a European interview Truffaz said that The Walk of the Giant Turtle (recorded in Lausanne in January 2003 and mixed in Paris) was based on ensemble improvisation. Joining Truffaz on the new disc are his long-time quartet, Patrick Muller on piano and electronic keyboards, Marcello Giuliani on bass and Marc Erbetta on drums. release, following up last year’s remarkable Mantis, and featuring a video on the making of the album. Wesseltoft's dark blend of Rhodes, acoustic bass, drum samples, and rap vocal snippets on "Sweet Mercy" represents a new kind of musical mosaic, an idea with a very promising future.In the next step of his evolution as a pioneering jazz figure, French trumpeter Erik Truffaz continues his exploration of modern dance rhythms informed by drum ‘n’ bass and hip hop as well as gripping rock ‘n’ roll with his quartet on The Walk of the Giant Turtle. There's a mellow, even minimalistic vibe to much of the music, with the possible exception of Alex Gopher's party-worthy "Bending New Corners." Truffaz's sparse trumpet work over these electronic loops and grooves does, of course, recall Miles Davis, but what's interesting about this record, and others like it, is that it signifies a new direction in music - not a throwback to fusion, not a concession to commercial pressures, but a fecund meeting of some very different yet complementary musical minds. Like Truffaz himself, these musical seekers hail from Europe - Pierre Audétat, Alex Gopher, Pierre Henry, Goo, and Bugge Wesseltoft, as well as Mobile in Motion (Christophe Calpini and Fred Hashadourian), which splits "The Dawn" into two parts that respectively open and close the album. In a bid to crosspollinate jazz with new sounds being explored in ambient and electronica, Truffaz enlists the talents of six guest artists to reinterpret his work through their own experimental points of view. The seven tracks on Revisité are "remixes" of tunes that Erik Truffaz, the adventurous French trumpeter, previously explored with his jazz quartet.
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