SOPHIA DOMANCICH — Le Grand Jour (review)

SOPHIA DOMANCICH — Le Grand Jour album cover Album · 2021 · 21st Century Modern Buy this album from MMA partners
4/5 ·
snobb
Outside of France, Parisienne pianist Sophia Domanchich is mostly known because of her association with British Canterbury scene leading artists, such as Gong drummer Pip Pyle (who was her partner for some years) and, more significant, former Soft Machine members, sax player Elton Dean and bassist Hugh Hopper.

In her homeland, she is a renown musician and composer, active in both classical music and jazz. She started her career in music as an accompanist in Paris Opera, it was Steve Lacy(among others), who introduced her to jazz in the late 70s. Since then she has been a significant figure on the French scene, often combining modern concert hall music and jazz.

"Le Grand Jour"("The Great Day") is her newest to date album (and first original release of just revitalized French jazz label PeeWee!). Domancich presents eleven of her originals here (plus an opener - John Lewis "Jango"). She does here what she knows best - plays solo acoustic piano and (simultaneously) Fender Rhodes. The music can be described as elegant chamber jazz, influenced more by Satie than Chopin. Sophia's compositions are of an elegant cool beauty, opposite to the French scene's Montmartre sentimentality. The ascetic use of electric piano in moments recalls the sound of church organ, in other places it adds a rock song feel, in both cases it makes solo piano sounds more lively.

Being quite accessible, this album's music is of a multilayered origin, every listening opens new elements and emotions, again and again. It's like an Old Paris architecture - you can enjoy looking at these old Cathedrals and buildings again and again, never being bored.
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