Emmanuel Bex: Eddy m'a dit
Label |
Pee Wee PW 1017 |
recorded |
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online distribution |
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Emmanuel Bex |
Hammond organ, piano |
Fidel Fourneyron |
trombone |
La Grande Soufflerie et la Fanfare du Carreau |
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Antonin Fresson |
guitar |
Vincent Mahey |
electronics |
Phil Reptil |
electronics |
David 'Catman' Taieb |
electronics |
Dominique Pifarély |
violin |
Michel Alibo |
bass |
Tristan Bex |
drums |
Arnaud Dolmen |
drums |
Simon Goubert |
drums |
Arnold Moueza |
percussion |
André Minvielle |
vocals |
01: Dum Dum - Our Kind of Sabi
02: Le petit Tavy
03: Les Éléphants
04: Eddy
05: Colchiques dans les Prés
06: La Biguine
07: Blues for Eddy
08: Come On DH
09: Caraïbes
10: Romance
11: Eddy m'a dit
12: Español
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With Eddy m'a dit, Emmanuel Bex pays tribute to the late French Hammond pioneer Eddy Louiss, a formative mentor and musical companion. The album intertwines personal remembrance with collective sonic exploration, creating a space where tradition and experimentation coexist.
The three dedication tracks ("Eddy", "Blues for Eddy", "Eddy m'a dit") serve as emotional anchors. They draw on Louiss' earthy blues feeling and lyrical warmth without lapsing into imitation. Instead, Bex refracts that heritage through a contemporary prism in which electronics, violin, and layered percussion reshape the Hammond organ's voice for today.
Between these touchstones, the album spans a wide stylistic range: the percussive force of the opener "Dum Dum – Our Kind of Sabi", folkloric flavors in "La Biguine", and the chamber-like intimacy of "Romance". This breadth is impressive, though not without fissures. At times the dense overlay of electronics and drums feels overextended, while the more restrained, clearly structured pieces carry greater weight and resonance.
Ultimately, Eddy m'a dit resists the idea of a polished, unified statement. It is instead a living memory album: fragmentary, experimental, occasionally unwieldy-yet always sustained by respect and affection for a towering predecessor.
This review was written by ChatGPT
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