First review of our newest album WIDE with Francois Carrier, Michel Lambert, Marcin Bozek and Tomek Gadecki – Bad Alchemy Magazin from Germany, (translated) in English [BA 105 rbd] :
The fact that FMR is now pursuing a CD-on-demand policy has remained very consistent: Paul Dunmall, Glasgow Improvisers Orchestra, Szilárd Mezei, Adrian Northover, Philipp Wachsmann … but also open to the Fresh Dust Trio and ” Honey, did you break all my jazz cassettes? ” from the bootleg unit, both with self-ironically fresh wind by the electro-percussive Slovenian Jaka ‘Brgs’ Berger. Wide (FMRCD556) belongs to the track of the consistent, with the Canadian Altosax + Drums team FRANÇOIS CARRIER & MICHEL LAMBERT. But their good contacts to the East – Russian to Alexey Lapin, Polish to Rafal Mazur – are now bringing new faces into play, live in Byrgoszcz in 2018: bass guitarist MARCIN BOŻEK & TOMASZ GADECKI on tenor sax, who in turn have been free jazzing together in Gdynia as Olbrzym i Kurdupel since 2007 , while Gadecki cuddles and roars to the rock songs by Joanna Kucharska in Lonker See. But it is Bożek who roars and beats here before kicking off before plunging into the saxistically opened wide field of ‘Wide’ (11:07 p.m.), with a slope on which Lambert walks like a rocking stone. Carrier and Gadecki take off after eight minutes, one as a bubbler, the other torn off and snotty ostinat. Until they trill together and the horn intervenes again for a plaintive cooperation, where they tickle each other again to smileys, chewy and again rapidly overflowing, crossover or red-hot, suddenly hot and as sausages [Kurdupel], which inflate to rocket worms [Wężoidy] , Superseded by ‘Radiancy’ (9:44) as Adagio, in which, however, it blurs bożekistically so much that the elegiac tends to overthrow. ‘Leeway’ (31:42) can then not be translated better than with leeway, which the four exploit as imaginatively as spiritedly, cackling with excitement, inciting each other, almost ayleresque, but again firing staccato from both pipes, bass and Bass drum with rumbling thrust and metallic flashes above it. Lambert triggers a drunk chunk and Moschen, the Saxers fire over-the-top, Coltrane meets Pharoah. By the time she has the earth back, they almost seem to be on their knees piously, with Bożek only as a cacophonic grinding track. But even in this spiritual de-profundis, this bluesy feeling, so much vitality twitches and simmers that, contagious to one another, they ultimately rock up again, but not to end triumphantly, but tenderly and sublimely. [BA 105 rbd]