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Saxophonist Jerome Sabbagh Releases Plugged In,The Raw Edge of Rock Girding The Communication of Jazz

April 26, 2012 via Bee Jazz

Featuring JOZEF DUMOULIN Keyboard (Belgium), PATRICEBLANCHARD Electric Bass (Martinique/NYC) & RUDY

ROYSTON Drums (NYC)

The simple act of plugging in is easy to take for granted, but it provides power,illumination, charge; the same could be said for connecting a power cord or for themeeting of creative minds. On Plugged In(Bee Jazz), his fifth album as a leader, French-born, Brooklyn-based saxophonist Jerome Sabbagh discovers the spark of inspirationprovided by both, assembling an exhilarating electric quartet and collaborating with theaw-dropping Belgian keyboardist Jozef Dumoulin.The result is an album that is all about electrifying connections - that between Sabbaghand Dumoulin, the intense grooves forged by Martinique-born bassist PatriceBlanchard and American drummer Rudy Royston, the conjunction of the electric and

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the lyrical, the raw edge of rock girding the sophisticated communication of jazz.

Sabbagh first encountered the keyboardist on record, knowing as soon as he heardDumoulins unique approach that he wanted to work with him. I heard something reallypure in Jozefs playing that I connected with, Sabbagh recalls. He was using a lot of

effects, but at the same time he had a really distinct, original voice, and a degree oflyricism that is quite rare in an electric context.

Dumoulinssolo on the albums perpetual-motion opener, Drive, highlights exactly whySabbagh became so enamored of the Paris-based keyboardist. His ferocious howlapproaches the overdriven force of an electric guitar, a sound that has inspired thesaxophonist in the past: a member of the saxophonists long-running quartet, along withbassist Joe Martin and drummer Ted Poor, is the never-predictable guitarist BenMonder, whose ability to coax a surprising array of colors from his chosen instrument isechoed by Dumoulins similarly virtuosic skillset.Ben and Jozef both have a very strong voice, harmonically as well as sonically,Sabbagh says. They sound like somebody singing, and thats something Im attracted toon any instrument. Its something that I seek in my own playing.

As a composer, Sabbagh achieves that singing quality via a propensity for rock-tingedpieces that embrace the accessibility of pop music without eschewing intellectual rigor.The anthemic Special K, with its infectious, memorable melody is a prime example, thetype of tune that will send listeners scrambling into the recesses of their memory for aforgotten scrap of lyric. I like writing quasi-pop tunes,

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Sabbagh says. The human voice is an inspiration to me.The two came together via a grant from the French-American Jazz Exchange programadministered jointly by Chamber Music Americaand the French American CulturalExchange, bringing Dumoulin to New York for an intensive ten days of rehearsal,gigging and recording. Sabbagh and Dumoulin each composed half of the repertoire,agreeing not to check in on one another during the writing process. I had no idea whathe was writing and he had no idea what I was writing until he flew to New York,Sabbagh says. We trusted that we would make it work once we actually got together.Not only did they make it work, but Plugged Inis a powerfully cohesive album comprisingfourteen diverse pieces. One emphasis of this project was showcasing Jozefs writingand my writing and the similarities and differences between them, Sabbagh explains,

so I wanted to have a variety of material. The pieces they chose reconcile Sabbaghspop-centric, song-like approach with Dumoulins headier, more conceptual style withoutthe record ever feeling schizophrenic. The keyboardists ethereal Ronny seems to flownaturally from the saxophonists African-influenced Jeli, Sabbaghs languorous Minorfrom Dumoulins simmering UR, which takes a free hand with the chords of All theThings You Are, leaving little trace of the well-worn standard.

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Both composers get their fair share of the spotlight due over the course of the albumsfourteen concise tracks. Rather than indulging in lengthy, rambling improvisations,Sabbagh and company focused on playing brief, taut, impactful statements. I like the

idea of trying to get to the essence of the songs, saying what you have to say and thenmoving on, Sabbagh says. I think having one song thats really different from the onebefore and the one after, like rock albums often do, keeps you alert and listening. And Ilike making albums as opposed to a random collection of songs.The session is possessed of the excitement its creators were feeling during itsrecordings. The date marked Dumoulins first visit not only to New York but to the States;Sabbagh was fresh off playing a week at the Village Vanguard in Paul Motians NewTrio, alongside frequent collaborator Ben Monder (the legendary drummer, sadly, passedaway two months later). That experience stood out, even among the other greats withwhom Sabbagh has performed or recorded, including Victor Lewis, Bill Stewart, BillyDrummond, Andrew Cyrille, Daniel Humair, Guillermo Klein, Ben Street and manyothers.

jeromesabbagh.com/ beejazz.comPublicity Contact:

Matt Merewitz - Fully Altered Media347-384-2839

matt@fullyaltered.comfullyaltered.com

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