Jean-Luc Ponty has been extremely satisfied with his international touring quintet, which not only excels in performances of his latest compositions, but also brings new life to older works. Earlier in his career, the violinist became enamored with the use of banks of synthesizers plus digital delay for special effects on his instrument, as well as the prominent presence of an electric guitarist. But this quintet, heard in a brilliant 1999 concert in Warsaw, is considerably stripped down, featuring keyboardist William ...
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Jean-Luc Ponty has been extremely satisfied with his international touring quintet, which not only excels in performances of his latest compositions, but also brings new life to older works. Earlier in his career, the violinist became enamored with the use of banks of synthesizers plus digital delay for special effects on his instrument, as well as the prominent presence of an electric guitarist. But this quintet, heard in a brilliant 1999 concert in Warsaw, is considerably stripped down, featuring keyboardist William Lecomte, electric bassist Guy Nsangué Akwa, drummer Thierry Arpino, and percussionist Moustapha Cisse. A perfect example is "Rhythms of Hope," first recorded for Ponty's album Mystical Adventures; Ponty's dazzling solo is followed by Akwa's intricate, yet never excessively flashy bass solo. The lively "Jig," which was also first appeared on Mystical Adventures, proves less is more, with Lecomte's piano chops fueling Ponty's flights along with the bassist and the twin percussion team. Cisse's elaborate bongo solo is the centerpiece of the catchy "Caracas." "Memories of California" is a solo feature for the leader as he plays pizzicato on a MIDI violin with synclavier for the first half, before switching to playing arco in a stunning duet with Lecomte. The prominent West African flavor of "Mouna Bowa," jointly written with his bassist and premiered on Ponty's CD Tchokola, has grown even more impressive over time. "Enigmatic Ocean (Part II)," a portion of one of the several suites debuted by Ponty during the heyday of his Atlantic years in the 1970s, also takes on a new flavor with the additional percussion. The blazing finale is an updated interpretation of "Open Mind," which is a hoedown worthy of comparison to Ponty's "New Country," though with an inescapable West African beat. The only thing that may puzzle Ponty's fans is why so many of the numbers were also heard on his previous live CD, Live at Semper Opera, recorded in 2001 and released in 2002, even though the versions are different. But it is really of no matter, as longtime fans of the talented violinist will want to pick up this exciting performance, as well as the companion DVD of the Warsaw concert. ~ Ken Dryden, Rovi
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