(Avant-Garde, Free Jazz) Alban Darche, Gаbor Gadо, Sеbastien Boisseau - Budapest Concerts - 2010, FLAC (tracks+.cue), lossless

X Lossless Decoder version 20130602 (143.2)
XLD extraction logfile from 2013-06-12 13:12:56 +0400
Alban Darche, Gadó Gábor, Sébastien Boisseau / Budapest Concerts
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       10  | 43:54:45 | 07:30:28 |    197595    |   231372
       11  | 51:24:73 | 05:58:27 |    231373    |   258249
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REM GENRE Jazz
REM DATE 2010
PERFORMER "Alban Darche, Gado Gabor, Sebastien Boisseau"
TITLE "Budapest Concerts"
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Herewith two records released at about the same time, on the same label (Hungary's Budapest Music Center), both prominently featuring Hungarian guitarist Gábor Gadó. If, however, it's pleasing to play the discs side by side—and it really is—it's as much because of the two records' differences as their similarities.
Budapest Concerts is a concert recording by a small group; Lung-gom-pa, meanwhile, is a studio date by a large and varied ensemble. But the most significant distinction is that the former is a free-jazz performance, while the latter is elaborately composed. And the most interesting thing, perhaps, is that the free-jazz record makes for far "easier" listening, flying in the face of expectations.
The Franco-Hungarian trio performs a series of free-jazz pieces, each based on the slightest of sketches. In general, the drumless format produces a music of gentle exhalation, atmospheric and at times filmic (as on the stop-go waltz tribute to Tim Burton).
Saxophonist Darche is responsible for much of the recording's gentle beauty. Though his avant-garde credentials are nowhere in doubt, he nevertheless approaches a melodic idea as though he were Paul Quinichette, or, better still, Zoot Sims: open, approachable and with a vague sense of swing.
Guitarist Gadó, if anything, is even more open, approachable and swinging. On both records under review he frequently deploys pretty sound washes very much in the style of Bill Frisell. Like the French guitarist Manu Codjia, however, Gadó seems to conceive of these moments as the quiet end of a musical spectrum centered on considerably rowdier sounds than Frisell's.
The generally sinuous sound of the record is interrupted, effectively, by the agitated climax that occurs in the middle of "Tregor Song," with Gadó's guitar recalling Sonny Sharrock's work with Last Exit and Boisseau providing a choppy percussion with his bass. This percussive element is magnified in "La Conjuration des imbéciles / A Confederacy Of Dunces," with what might be Darche's saxophone slaps and squeaks, as well as borderline-funky guitar-bass interaction. Sinuousity returns for the two final cuts.