© Aniss Hamdi

After a first record and dozens of concerts as a quintet, pianist Joachim Caffonnette returned to the trio with whom he released, in 2019, a highly noticed album (“Vers l’Azur Noir”).

Joachim Caffonnette is a poet, a dreamer. And like any poet, there is a hidden crack in him. There is a reason why the previous album of his excellent trio refers to a Rimbaud poem with dark verses. Under the guise of musical poetries, Caffonnette makes us aware of the inequalities and injustices of this world. Most of his compositions are dedicated to the memory of migrants who disappeared in the Mediterranean and also, in general, to the victims of the madness of a dehumanized world. To keep the listener vigilant, the pianist switches between introspective moments and frankly swinging ones. Over the years, Joachim Caffonnette has developed his own language and forged strong links with double bass player Soet Kempeneer and drummer Jean-Baptiste Pinet. The result is excessively well hemmed and tailor-made compositions that oscillate between a tachist or impressionist spirit and sometimes hyperrealist. Exacerbated feelings are concealed under a music that one might see as lyrical and sensual. Poetry is used for this, jazz too.