Mechanics Sylvain Rifflet

• 12 West 46th Street03:39
• 2Glassicism06:25
• 3From C06:58
• 4Mechanics03:40
• 5Fantoms04:12
• 6Origamis03:52
• 7Double02:27
• 8Enough Fucking Guitar02:30
• 9Elf Dance02:14
• 10La Pastorale05:50
• 11Tout Dit02:36
• 12Improvisation # 102:32
• Total Runtime46:55

Info for Mechanics

French saxophonist and composer Sylvain Rifflet has his finger firmly set on the pulse of modern times. Working with his group Alphabet, he has masterminded an innovative and spell-binding brand of music in which the modernity of his jazz sound combines with the world of New York minimalism. Poets and writers of the late nineteenth century and early twentieth century often described the then-nascent ''industrial world'' and its machines as ''enemies of art.'' However some did not see progress as dehumanizing. Science fiction imagined a futuristic world, which inspired artists and writers such as Jules Verne and HG Wells. Rifflet's album Mechanics, with a cover illustration by Belgian comic book artist Francois Schuiten, journeys through forward looking and fantastical worlds.

Sylvain Rifflet, tenor saxophone, clarinet, homemade music-box
Benjamin Flament, percussion, treated metals
Philippe Gordiani, guitars
Jocelyn Mienniel, flute, kalimba

Sylvain Rifflet
Ever since he was a teenager and his discovery of Stan Getz‘ legendary album Focus, Sylvain Rifflet had dreams of making a record that would revisit the same format, and give new impetus to the saxophonist’s very successful blend of classics and jazz. It was an ambitious project, but also an opportunity which Verve has now provided.

Steeped in the spirit and methods of the album that Verve originally released in 1961, Sylvain Rifflet presents us with Re-Focus: a rewriting of Focus, a tribute to two elders he admires, and simultaneously a faithful reflection of Rifflet’s own universe. A new ambitious step in Rifflet’s musical career which affirms his genius.

In 1961 with Focus, composer Eddie Sauter has written his name into the “great classical composers” tradition, when he proposed a kind of “real” concerto except that, jazz oblige, the part that fell to soloist Stan Getz, who had commissioned the piece, was not only performed by him, it was improvised. The 20th century was marked by a new rivalry between, on the one hand, written scores (to which the majority of classical composers continue to have recourse), and on the other hand, recordings (that particular process whereby improvisers leave a trace of their work for future generations). The two approaches, which are in no way contradictory, were reconciled when Focus appeared in 1961. The marriage between stave and disc, classics and jazz, paper transcriptions and what philosopher and cultural critic Walter Benjamin called “mechanical reproduction” couldn’t fail to fascinate Sylvain Rifflet, laureate of the 2016 “Victoire de la Musique” for his album Mechanics. To date, Sylvain continues to defend the influence of classical music on his work.

Booklet for Mechanics