Jazz Magazine Dec 09

A Week in Paris

Summer Times
Franck Amsallem

Sunnyside/Nocturne
Track Listing: I Got Rhythm; Summertime; Young and Foolish; Tom's Tune; Laila's; The Man I Love; Bud Will Be Back Shortly; You're My Everything.

Personnel: Franck Amsallem: piano; Johannes Weidenmuller: bass; Joe Chambers: drums.

1:: Summer Times is an unusual record for pianist Franck Amsallem because, instead of him exclusively performing originals as on most of his previous recordings, he revives five standards. Amsallem shows that he can swing à la Wynton Kelly whenever he wishes and can infuse ballads with honest feeling. His interplay with bassist Johannes Weidenmüller and drummer Joe Chambers is impressive, falling somewhere between Oscar Peterson (where the pianist dominates) and Bill Evans (with equality between the three musicians). Even the three originals are essentially swinging hard bop. Summer Times is the perfect introduction for listeners not familiar with the fine playing of the underrated Amsallem.
— Scott Yanow AllMusicGuide

2:: Pianist Franck Amsallem's seventh record comes from a familiar angle, exploring the range of possibilities within a traditional jazz group. His sophisticated attitude toward the music gives it a rarified cosmopolitan feel, but that's only a mask for the quiet passion that lurks within. In this particular case he leads a trio and combines original material with standards, each tune coming in at a polite range from five to nine minutes in length.

Amsallem's trio in this case conjoins him with his familiar partner Johannes Weidenmuller on bass and relative newcomer (for him, anyway) Joe Chambers on drums. The latter plays an important role in organizing a distinct sound here. On “Tom's Tune,” for example, he lends a gentle percolating swing that sways and bobs but absolutely never lets go of timekeeping. Never busy, never aggressive, never in your face, Chambers burbles along in the background with enough perk and interaction to keep the pace interesting.

Likewise, Weidenmuller swings away on the bass, though he also comes across comfortable setting up more relaxed pulsing lines during quiet moments (as on “Laila's”). But the real star here, without a doubt, is the pianist. He fits less than perfectly into the mold of modern jazz pianist, deeply respectful of tradition but with a surprisingly limber and open feel, top to bottom. Melodic without dragging themes out, restless but genteel, he's not too far away from Keith Jarrett or other ECM pianists.

Amsallem's personal niche is a warm and inviting one. His liner notes admit that the ”piano in my hands is mightier than the pen” (a humble assertion within that context). Mighty might not be the word I'd use, but Summer Times has its own reserved strength, and to be honest it's a welcome treat in the fading weeks of the sunny season. “Summertime” is a familiar experience, but it's different each time around.

~ Nils Jacobson All about Jazz September 2003

                              Eighty-Eights

We have an enigma in Franck Amsallem. Born in Algeria, he has lived most of his life in the United States. Usually his albums are devoted to his excellent originals, but for Summer Times (Sunnyside) his sources for most of the tunes are as American as they come:"Jazz via Tin Pan Alley." That's a quote from his notes, which sound remarkably like his keyboard style: laid-back, yet brash; simple, yet complex: unassuming, yet confident; and above all, original. With sympathetic backing by bassist Johannes Weidenmuller and drummer Joe Chambers, Amsallem visits Gershwin three times: he turns the first four notes of "I Got Rhythm" into an ostinato launching pad for a way-up romp, repeating the motif in various forms; "Summertime" receives a refreshing 5/4 treatment; "The Man I Love" is given a calypso makeover. Amsallem is always thinking, but the emotional highlight comes on the introspective "Young and Foolish." A ballad always separates the man from the boy, and the multilayered Summer Times is all human.
JAZZTIMES February 2004

Attention, après 20 ans passés aux Etats-Unis, où il gagna la confiance et le respect des musiciens les plus estimables voire légendaires (Ron Carter, Dave Liebman, Gary Peacock, Gerry Mulligan…), le pianiste niçois fait son grand retour en France. Amsallem n’est plus un gamin. À 42 ans, il ferait même figure de référence tant sa personnalité musicale est complète et son pedigree impressionnant. Mais sa musique parle pour lui. Son septième album “ Summer Times ” enregistré en trio pour le label Nocturne (qui promet une année 2004 bien animée) réunit Johannes Weidenmuller (contrebasse) et l’éblouissant Joe Chambers (batterie). Dans une belle sélection de standards amoureusement choisi par le leader (un expert !) et une poignée de compositions originales, Amsallem signe un disque radieux de swing, de lyrisme et d’invention. L’écoute de “Summertimes” décourage toute tentative d’analyse et se contente de procurer une sensation qui prime sur toute autre considération : le bonheur. On n’avait pas ressenti ça chez un pianiste français depuis bien longtemps, depuis Michel Petrucciani peut-être.
La Terrasse decembre 2003

"REGARDS"
FRANCK AMSALLEM - TIM RIES

Freelance Records
Track Listing: (Ode to Mr. Blue/On Second Thought/It Happens/The Shames/Regards/A2/Chanson Triste/Irregular Regularity/Bodo. 61:00.

Personnel: Franck Amsallem, Piano; Tim Ries,Tenor Sax, Soprano Sax; Scott Colley, Bass; Bill Stewart, Drums. 1/93, New York City.

1:: A deep and distinct pianist-and-reedist team (both compose), the quartet is rounded out by bassist Scott Colley and drummer Bill Stewart. Overall, they're graceful, tasteful, sleek and somber playing through well-tempered arrangements and freer, united modal explorations. The four channel their energy, love their ballads and plumb acoustic luxury.

Howard Mandel DOWNBEAT .

2:: This is a mature, passionate recording done by a wonderful group of musicians who are definately attempting and succeeding to go beyond the norm to attain the all important comaraderie and unity which lifts the music to another, higher level.
Franck shows a remarkable maturity in his playing. He refuses to show off technic, but rather plays with intelligence, clarity, and restraint throughtout. Listen to his solo on "Bodo" for an example of this approach. As an accompianist he never forces the issue, but rather lets Scott and Bill do their job. the result is that the rhythm section sounds extremely relaxed, an accomplishment that many more experienced musicians would immediately relate to. Scott and Bill are excellent throughtout. In particular the stellar brush work of Bill Stewart stands out, which is rare to hear these days among young drummers.
Dave Liebman

CADENCE
The review of Jazz & Blues:
Vol 20 No.11 November 1994
3:: This is a very satisfying session with two men who play from the Gospel According to John Coltrane and Blue Note. Franck Amsallem and Tim Ries don't blatently imitate any kind of Sixties sound but they do have a feel for the period. Ries is an intense saxophonist with a driving lyricism on soprano as hot as Dave Liebman's and a full expansive wail on tenor while Amsallem's piano combines McCoy Tyner's firm touch with Herbie Hancock's energy. All of the compositions are intelligently constructed originals. Amsallem's "On Second Thought" and "Ode to Mr. Blue", Tend to move straight ahead while Ries' "It Happens" and "The Shames" are grander and more ornate."The Shames" is a particularly lovely theme with a crashing dramatic piano introduction leading into a pretty but taut melody led by Ries' piercing soprano. The action up front is well fueled by manic drummer Bill Stewart whose galloping style is a cross between Gene Krupa and Max Roach, bashing and crashing with suprising taste and sensitivity. There is a lot of heat and lyricism all the way around in this set.
~ Jerome Wilson

OUT A DAY

reissued as ANOTHER TIME

                    

                       
                    and once again as OUT A DAY

CADENCE The review of Jazz & Blues
Vol 18 No.11 November 1992

1:: Awesome!
Franck Amsallem is an Algerian born piano player, who has been working and living in NYC for quite some time now. This is a re-issue of his first recording from 1990, in trio setting, backed by bass veteran Gary Peacock and drummer Bill Stewart, at that time just starting off his considerable career. The results are astonishing: except for two standards all are Amsallem compositions and they are very strong indeed, melodious in essence but not predictable. His co-players are the ideal foil for his original ideas: Gary Peacock gives the music a beautiful base and Bill Stewart knows how to make the music breathe. Anyone who thinks that Brad Mehldau is the only one to watch these days when it comes to piano trio music should take notice of Amsallem's awesome effort on this record. Don't miss it!

Erik Werkman Amazon.com

2:: This debut recording was originally released in 1992 on OMD as Out A Day (if you have a copy, trust us: it's going to be collectable). The writing is exquisite "...And Keep This Place In Mind For a Better One is Hard To Find" and the following two tracks, "Running After Eternity" and "Dee" are among the finest for piano trio we have heard in a very long time. Those that follow, "On Your Own" and "Affreusement Votre (Horribly Yours)", are almost equally as good. Peacock's huge sound reaches out and embraces the melodies, while Stewart, who was little known in 1990 when the recording was made, plays with delicacy and grace. We're in danger of gushing and embarrassing ourselves. Sample this wonderful record at all costs.

 

3:: Recorded in 1990, originally released in 1992, and reissued six years later, this was Amsallem's debut record. A pianist with roots in Bill Evans, Keith Jarrett, and Paul Bley, he deals a lot in brooding abstraction and oblique melodicism, although he can swing, too-and occasionally crash the keyboard like Cecil Taylor or Don Pullen. He's mostly a spare, developmental player. His trio, which includes bassist Gary Peacock and drummer Bill Stewart, often engages in organic interplay.

"How Deep Is the Ocean" swings in a slugging sort of way, and "Affreusement Votre" cooks harder behind Stewart's pace-setting drums. Conversely, the group creates an introspective mood on "A Time for Love" and "Dee," among others. There's no freshman immaturity or jitters here.

Owen Cordle Jazztimes April 1999

1998 PENGUIN GUIDE TO JAZZ ON CDS, 4th edition

Doug Fischer The Ottawa Citizen

3:: Algerian-born pianist Franck Amsallem (b. 1961) is an accomplished, exceedingly thoughtful player who studied at the Conservatory in Nice (France), Berklee College in Boston and received a Masters Degree in Composition from the Manhattan School of Music. Another Time is a reissue of Amsallem’s 1990 debut, Out A Day and, thanks to a new label and worldwide distribution, this impressive outing is getting attention at the same time as his more recent and also well-distributed quartet recording, Years Gone By.

As the titles suggest, Amsallem is clearly interested in things temporal. It greatly benefits his angular, yet exceedingly attractive compositions too. Like Keith Jarrett, Paul Bley and, to a lesser degree, Bill Evans, Amsallem is something of an intellectual player: leaning often toward classical rather than jazz influences (Chopin and Debussy to these ears) and clearly well educated hands are finessing such engaging changes. Pleasingly, his compositions don’t proceed through predictable changes either; so they benefit repeated listening and reward upon casual or concentrated hearings.

Highlights include the exotic, nearly classical (and surprisingly catchy) "For The Record," the oddly-titled "And Keep This Place In Mind…" (suggesting a tribute of sorts to Jarrett by miraculously fusing his gospel and classical flourishes into one neat package), the Evanescent "Running After Eternity," and the standard-worthy "Affreusement Votre (Horribly Yours)" (another interesting title).

If Another Time is any indication, Amsallem could prove to be an important voice in jazz. There’s enough variety, complexity and uniqueness here to suggest that Amsallem could be quite the innovator. He’s a clear-headed composer who creates with an ear toward invention and a pianist who can capture an idea in an easily appreciated manner. That’s quite a feat. Another Time is such a disc.

Judith Schlesinger allaboutjazz.com

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