Arnaud Dolmen & Leonardo Montana

LéNo

Quai Son Records and Samana Production

A colleague used the expression recently “music that means something,” which is more than fitting for this collaboration between Arnaud Dolmen, drums, glockenspiel and backing vocals, and Leonardo Montana, piano and backing vocals. Dolmen is of Guadeloupean origins, and this is his third album as a leader. Leonardo Montana is a pianist of Brazilian heritage, who lived in Guadeloupe as a teenager, and, like his partner, is currently based in France. Their partnership seems predestined and together they deliver an exhilarating record, rife with danceable tunes, thunderous drums and animated, captivating piano that is bound to have you bobbing your head, tapping your feet, or shaking other body parts. Drawing strength from their Creole roots, they embrace an unrestrained sense of freedom for the full 46 minutes. It’s often hard to believe that it’s just the two of them making this wondrous music.

Opening with “Les Invisibles” in Part 1 and Part 2, the first, an original, pays homage to those people we don’t think about enough while Part 2 is a cover of “Afro Blue” with an arrangement that points to Gerard Lockel. The first piece begins with shimmering piano and Dolmen’s cymbal flourishes, with the infectious rhythms and vocal chants taking hold just after a minute and half.  All three elements, the piano, the drums/percussion, and the vocals are distinctly Caribbean as the tempo ebbs and flows. (yes, the album has some reflective passages too). The overriding takeaway though is effusive joy, setting the tone for the album. The angular, exuberant “Agora Sin” follows, translated in Portuguese to “live fully in the moment.”  The interplay between the two is remarkable as they switch lead voices.

Tempo slows for “Romance de la Lund Tucumana” which means “Ode to the Moon,” a cover of the title composed by Argentinian bassist Pedro Aznar.  Montana’s piano is expressive, connoting the unique glow of the moon in the southern hemisphere. Dolmen sets a brisk tempo for the lively “Hey Cousin,” an homage to the people of neighboring Martinique.  They merge the fast-tempo French musical form, zouk, with Monk’s style of rhythm and space in “Zouky Monky,” as they quote some lines from Monk’s “Evidence” while deftly navigating the rhythm changes.

Interspersed with these major eight compositions are four interludes, called Spirales, meant to symbolize different steps in life’s journey. Likewise, “Hajj,” one of the wildest rides on the disc, signifies a path, and moreover, an excursion into the unknown, getting out of one’s comfort zone. As a result, it comes off a bit like free jazz.  The title track, on the other hand, sounds purely composed with a definitive melody at the outset, but it too evolves into improvisation, celebrating both connection between the duo and embracing spontaneity.

These two musicians are likely new to you. Don’t let that dissuade you. This is uplifting music, guaranteed to bring smiles and more.

• Jim Hynes

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