The trio consists of Marie Krüttli on piano, Lukas Traxel on bass and Gautier Garrigue on drums and percussion Following her solo piano album “Transparence”, released on Intakt Records in 2023, Marie Krüttli, a young jazz pianist from western Switzerland brings influences from classical to jazz and contemporary music to her music.

Rich piano notes and a sustained chord introduce opener ‘Dust and Skin’, which transposes from what could be a lullaby to something more menacing, as the music crescendos in an alluring piece that promises much for the rest of the album (which is certainly delivered). ‘Fluctuating Hope’ has more evident bass and mazy piano runs; the cymbal work is particularly notable. ‘Thinky Hearts’ is more upbeat and shorter (Most of the pieces are four minutes or less). On ‘Balthazard’, the pianist displays the full range of her dexterity, returning to a more basic form at its conclusion with some thoughtful stick work from Gautier, as much of a percussionist as a drummer, which suits the pianist’s pensive and searching approach. ‘Rewire’, with its rippling piano arpeggios and nimble bass work, is in more traditional post-bop jazz mode with a classical flair on top, increasing in intensity as it progresses. Similar things can be said about ‘L’envolée’, a walking, or more precisely, jogging bass line this time (I love the way the drummer fills the gaps, the rolling drums at the end in particular). ‘My Lovely Brain’ is an interesting title. An engaging bass riff starting it off, three repeated piano chords with variations, straightforward, dreamlike and charming. (I could imagine the initial riff being developed into something more demonstrative live). ‘Terre precieuse’ is only a couple of minutes long, a minimalist lament, the synergy between the musicians laid bare. I looked forward to ‘Conversations with Myself’ not just because of its title but, because, I was intrigued to hear how Marie and her compadres would make use of a musical space of uncharacteristic length, exceeding six minutes; this reveals a complexity of composition that is by no means impenetrable and demands further exploration. ‘The Rational Plan’ is a jaunty, insistent piece and by now I have come to appreciate the level of excellence album “Scoria” has attained, but there is more to come.

As I have already attuned to the distinctive, evocative style and ethos of the Marie Krüttli Trio there is little more to say, and instead, I will just listen as the album draws to its close. I am not disappointed as the warmth of the music flows over me in the beguiling second part of an earlier piece entitled ‘Berceuse Honnete’. You can almost hear the cradle rocking.

https://www.Dimensions in Sound and Space.com/post/marie-kr%C3%BCttli-trio-with-lukas-traxel-and-gautier-garrigue-scoria-intakt-records-2024

The trio consists of Marie Krüttli on piano, Lukas Traxel on bass and Gautier Garrigue on drums and percussion Following her solo piano album “Transparence”, released on Intakt Records in 2023, Marie Krüttli, a young jazz pianist from western Switzerland brings influences from classical to jazz and contemporary music to her music.

Rich piano notes and a sustained chord introduce opener ‘Dust and Skin’, which transposes from what could be a lullaby to something more menacing, as the music crescendos in an alluring piece that promises much for the rest of the album (which is certainly delivered). ‘Fluctuating Hope’ has more evident bass and mazy piano runs; the cymbal work is particularly notable. ‘Thinky Hearts’ is more upbeat and shorter (Most of the pieces are four minutes or less). On ‘Balthazard’, the pianist displays the full range of her dexterity, returning to a more basic form at its conclusion with some thoughtful stick work from Gautier, as much of a percussionist as a drummer, which suits the pianist’s pensive and searching approach. ‘Rewire’, with its rippling piano arpeggios and nimble bass work, is in more traditional post-bop jazz mode with a classical flair on top, increasing in intensity as it progresses. Similar things can be said about ‘L’envolée’, a walking, or more precisely, jogging bass line this time (I love the way the drummer fills the gaps, the rolling drums at the end in particular). ‘My Lovely Brain’ is an interesting title. An engaging bass riff starting it off, three repeated piano chords with variations, straightforward, dreamlike and charming. (I could imagine the initial riff being developed into something more demonstrative live). ‘Terre precieuse’ is only a couple of minutes long, a minimalist lament, the synergy between the musicians laid bare. I looked forward to ‘Conversations with Myself’ not just because of its title but, because, I was intrigued to hear how Marie and her compadres would make use of a musical space of uncharacteristic length, exceeding six minutes; this reveals a complexity of composition that is by no means impenetrable and demands further exploration. ‘The Rational Plan’ is a jaunty, insistent piece and by now I have come to appreciate the level of excellence album “Scoria” has attained, but there is more to come.

As I have already attuned to the distinctive, evocative style and ethos of the Marie Krüttli Trio there is little more to say, and instead, I will just listen as the album draws to its close. I am not disappointed as the warmth of the music flows over me in the beguiling second part of an earlier piece entitled ‘Berceuse Honnete’. You can almost hear the cradle rocking.

https://www.Dimensions in Sound and Space.com/post/marie-kr%C3%BCttli-trio-with-lukas-traxel-and-gautier-garrigue-scoria-intakt-records-2024