Papier ciseau

Album review

He’s not the only one taking jazz in new directions, though Roberto Negro’s unique technique sure does push the boundaries of a genre that sometimes seems a little coded. He has his own sound. His own voice. His own style. As the album opens, you’d be forgiven for thinking he had limited resources. His toolbox seems almost empty. And then suddenly, the magic kicks in. It’s impossible not to fall in love with Papier ciseau. It sounds like the soundtrack to a strange dream. A nightmare even. One with lots of layers (childhood, literature, cinema, fantasy, the city, space...) where anything is possible. Really, anything. It’s a world governed by balance, a concept that has always fascinated him. He jumps into the void with saxophonist Émile Parisien, bassist Valentin Ceccaldi and drummer Michele Rabbia. The playful title refers to the playground game rock-paper-scissors, setting the tone for the record. Negro owes as much to Gabriel Fauré’s music as he does to Jack DeJohnette's Special Edition, Nino Rota, John Zorn, Chilly Gonzales and Lennie Tristano, his idol. More of a composer and improviser than a jazzman, Roberto Negro flies over the landscapes, following chamber music sequences up with electro jingles. Yes, electronic sounds sometimes brighten up this crazy symphony. The atmosphere changes and morphs throughout; it’s oppressive on Toot, turning playful and comical on Apotheke. The pianist was born in Turin, grew up in Kinshasa, studied in Chambery and settled in Paris, so it’s hardly surprising that his sound is multifaceted. Like a Martial Solal on acid, Roberto Negro unveils his most ambitious record yet with Papier ciseau. A one-of-a-kind album that gets more and more fascinating every time you listen to it. © Marc Zisman/Qobuz