Artist: Sylvain Leroux
Title: Qromatica
Formats: Record/Vinyl + Digital Album
Labels: Fula Flute & Meta Dash
Genre: African Jazz
Release date: May 4, 2023
Buy and stream here: https://sylvainleroux.bandcamp.com/album/qromatica
Album Review by Dawoud Kringle
Sylvain Leroux is a unique musician. He devoted years to the study and mastery of the Fula flute, the traditional flute from Guinea, West Africa. He founded a music school, L’ecole Fula Flute; a music literacy project that teaches this endangered flute tradition. He is one of those people who successfully – and respectfully – adapts a foreign musical tradition, and then expands upon it.
About ten years ago, Leroux expanded the tradition by designing and patenting a chromatic version of the Fula flute called the “Qromatica.” And he is releasing an album named after his unprecedented instrument. Joined by Julia Haynes (accordion and harp), Mamadou Ba (electric bass), and Andy Algire (congas, balafon and percussion), Leroux lets loose on the qromatica and alto saxophone.
The album opens with “Zoe.” This piece that immediately evokes the feeling of what one understands as African music. It is very, for want of a better adjective, colorful. But then Leroux’s qromatica steps to the forefront and the language of this music is immediately transformed from African to African American jazz. Haynes’s harp takes up the jazz feel with expert comping. Leroux and Haynes trade fours.
The next track, “Gambalou,” combines a beautiful melody with a rhythmic complexity bordering on mathematical genius. The whole ensemble presented a virtuoso performance.
This was followed by the Thelonius Monk standard “In Walked Bud.” Leroux took some courageous liberties in how he interpreted the song. The influence Rahsaan Roland Kirk had on how he approached his solo is impossible to miss. Ba’s bass playing and Algire’s percussion on this is truly extraordinary. The inclusion of an accordian was a real surprise. Haynes brought something new to the song. After I first listened to this, I went online and listened to the original. I can’t help but wonder what Monk would have thought of this unique interpretation of his composition.
“Alliance” begins with Leroux offering a Coltrane-esque meditation on alto sax. Haynes’ accordion makes some spooky harmonies over the rhythm section. The piece resurrects the ghost of Alice Coltrane and takes it to some unexpected places.
“Main Gauche” starts out with Ba’s deep-in-the-pocket bassline and Algire’s muscular congas laying the framework for a different foray into the Afro-jazz vibe that runs through the whole album. Leroux’s solo is very bluesy and is almost reminiscent of Santana at times. Haynes’ harp solo clearly draws a lot of inspiration from the kora.
None of what was on the album prepares the listener for the Indian raga essence of “Shridana Ryapur.” Haynes produces a harmonium effect on the accordion. Leroux transforms his Qromatica into a bansurai. After a long introduction, the bass and conga come in. The listener is drawn into a hypnotic undertow that makes time stand still.
The final track, “Badineire,” seems to bring the music into an indefinable European flavor. But it’s difficult to tell exactly what European tradition he is playing from. He is clearly following his own muse; which should come as no surprise.
This is an album that covers a lot of territory musically. Leroux, a respected member of MFM who has done several webinars and workshops, has made his talent and knowledge very clear. But with this album, it is a moment where the academics stop and the real music starts. There are no weak moments anywhere here, and everything is not only a display of real mastery, but is also truly beautiful and engaging. I cannot recommend this album enough.
Other Sylvain CD reviews:
CD Review: Sylvain Leroux & L’école Fula Flute
CD review: Sylvain Leroux’s music of “French Creole…Creoles of color”.
