Jacky Terrasson: Smile

JACKY TERRASSON
SMILE

Blue Note

Smile is a fitting followup to Jackie Terrasson's previous release, A Paris. The quick French pianist returns with his trio for another round of music that is delightful in its surprises and reassuring in its ability to continue the jazz piano trio tradition. Terrasson is a fairly unique piano voice, at time recalling Abdullah Ibrahim, at others Bill Evans. I was surprised to hear Patricia Barber call Terrasson her favorite pianist at a recent performance, but when you listen to both performers closely, it really becomes apparent that Barber has taken at least some of Terrasson's approach to heart.

Bud Powell's "Parisian Thoroughfare" opens the CD with a nod to the City of Lights that runs through such pieces as "Sous le ciel de Paris" and the title track, cowritten by Charlie Chaplin. Terrasson takes the well-worn melody of "Smile" and makes it his own, creating a recurring motif that lifts the song from its typical melancholy interpretation to a demonstration of the song's philosophy as well as playing it in 5/4 time. "Sous le ciel de Paris" is interpreted as a ballad, and Terrasson plays with the melody the way a singer might. Not coincidentally, Terrasson has collaborated with some outstanding singers, including Betty Carter and Cassandra Wilson, which underscores his interpretive sensitivity, probably another reason why he serves as a role model for Barber.

Stevie Wonder's "Isn't She Lovely" gets a drum 'n' bass-inspired workout, with Terrasson improvising in brief runs over the chattering drumwork and the nearly dub-style electric bass of Remi Vignolo. The matter-of-fact way that such modern rhythms and styles are worked into a well-known piece of pop music is something seemingly peculiar to European jazz artists these days. Few American pianists-- Jason Moran would be one exception--are able to incorporate new elements into mainstream jazz without calling attention to what they are doing.

Everything about the performances on Smile sounds effortless. Terrasson's touch is light and airy on even the most technically demanding passages, while Sean Smith on acoustic bass and Eric Harland on drums also sound relaxed and calm--check out Smith's solo on "The Dolphin," one of the best acoustic bass solos I've heard on CD recently. Miles Davis's "Nardis" receives an impressionistic treatment; the piece was one that Bill Evans enjoyed performing, and Patricia Barber had a crack at it on Cafe Blue as well. Yet Terrasson seems to coax something from it that is completely his own, and his performance clearly demonstrates that he is one of the best of the current younger crop of jazz pianists.

Every note, every nuance of Smile seems so well placed that it's hard to imagine how any of these performances could be improved. It's still early in the year, but I can say with complete confidence that if Smile doesn't turn out to be one of the best jazz CDs released this year, then we will have seen an incredible year, indeed.