Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences
beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.
Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French
newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino
Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians
together on the album Maghrebi & Friends.
None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef.
Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi
trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian
aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.
Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since
2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy
Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.
In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of
round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very
exotic drifting in and out of the mix, it’s rich, colourful and beguiling.
1 - Stranieri (Paolo Fresu / Nguyên Lê) (06:00)
2 - Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 - Muqqam (Dhafer Youssef) (02:44)
4 - Mali Iwa (Nguyên Lê) (06:27)
5 - Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 - Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 - Chelsea Bridge (Billy Strayhorn) (03:00)
9 - Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 - Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 - Thang Long (Nguyên Lê) (05:33)
12 - Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 - Mangustao (Dominique Borker) (07:26)
14 - Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 - Beyti (Dhafer Youssef / Nguyên Lê) (02:53)