First there was
Lousadzak, and then the big band-sized
Grand Lousadzak, which makes
New Lousadzak the third project in
Claude Tchamitchian's ongoing interest in large avant-garde jazz ensembles. Indeed,
Human Songs features a different lineup: trumpeter
Médéric Collignon (best known for his tenure in some of
Louis Sclavis' bands), saxmen
Daunik Lazro and
Lionel Garcin, tuba player Daniel Malavergne, guitarists
Rémi Charmasson and
Raymond Boni, drummer
Ramon Lopez, and of course
Tchamitchian on double bass. That's eight top French new jazz players -- fine, six, since
Garcin and Malavergne don't have such a high profile. The album consists of two near through-composed untitled suites. The first one comprises five pieces, two of them providing strong highlights: the parade-like "Marche," for its irresistible motif and the breathtaking saxophone showcase concluding it, and "Fanfare," another joyous romp during which
Collignon bursts into senseless song. The second suite (six tracks) is even better overall, despite the fact that its highlights don't climb as high. Holding better as a continuous piece of work, it includes some fierce episodes of free improvisation, yearning themes ("Place Tien-An-men"), more exuberant melodies ("New Delhi," frantic), and a commanding sense of urgency throughout.
Tchamitchian's writing is reminiscent of
Jean Derome's, but the way he controls and shapes the masses of sounds his musicians produce evokes Lawrence "Butch" Morris.
Human Songs may be less impressive on first listen than
Grand Lousadzak's fatter-sounding
Bassma Suite, but it proves quite endearing in the long run, mostly thanks to its song-like quality. The album was recorded in the studio, but a video excerpt from a live performance is also included.