{"id":7829,"date":"2024-02-11T19:54:35","date_gmt":"2024-02-12T01:54:35","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=7829"},"modified":"2024-02-12T21:44:32","modified_gmt":"2024-02-13T03:44:32","slug":"review-triple-fever","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-triple-fever\/","title":{"rendered":"Review: &#8216;Triple Fever&#8217;"},"content":{"rendered":"\n<p class=\"\">Just when you think we\u2019ve reached peak piano trio, a new recording arrives to demonstrate the infinite elasticity of the venerable formation. It happens so often as to become routine. Yet surprises still abound, and this is one, a digital-only EP from a hitherto unknown label &#8211; to me, at least &#8211; that is one of the most bracing releases of the young year. <em>Triple Fever<\/em> (dStream, 2024) is both the recording\u2019s title and the name of the band, a clue that the Paris-based trio of pianist Beno\u00eet Delbecq, bassist Etienne Renard, and drummer Guilhem Flouzat is both a leaderless cooperative and more than an ad hoc project. That\u2019s good news because the music is both kinetic and conceptually rigorous, polished yet spontaneous, and temporally concise but packed with fascinating detail.<\/p>\n\n\n\n<p class=\"\">Flouzat has recorded with Sullivan Fortner, Sam Gendel, and Dayna Stevens while Renard, the youngest of the three, has a Paris-centered career at the moment. Delbecq is probably the best-known of the three players on this side of the Atlantic, from his work with the cooperative quartet Illegal Crowns and his conceptually audacious recordings for Songlines at the turn of the century.<\/p>\n\n\n\n<p class=\"\">The opening cut, \u201cKebled,\u201d seems to be Renard\u2019s dedication to him (spell it backward and sound it out). It begins with a languid daydream of a melody over chattering drums, but the pianist soon loses the thread as though wandering off in conversation, then picks it up again before drifting off into the twilight. Delbecq\u2019s piano is reminiscent of Vijay Iyer\u2019s in his ruminative moods or Craig Taborn\u2019s elliptical approach.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1330443980\/album=2852408013\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">The stop-and-start conceit continues with Flouzat\u2019s \u201cThe Stone We Left Unturned\u201d with the composer laying down a gentle 4\/4 backbeat on brushes. That rhythm and Delbecq\u2019s gospel chords nod toward Keith Jarrett\u2019s rock experiments for trio, but before the groove can dig in deep, the melody falls apart and resumes, like an actor pausing to get their line from the prompter and starting over. Where were we again?<\/p>\n\n\n\n<p class=\"\">There\u2019s no such indecision on Delbecq\u2019s title cut, a vaguely modal theme often in parallel octaves propelled by a pushy bassline and Flouzat\u2019s galloping drums. On Illegal Crowns\u2019 excellent <em>Unclosing<\/em> (Out Of Your Head Records, 2023) the piece was a feature for Taylor Ho Bynum\u2019s cornet, but here the composer takes center stage in a Paul-Bley-meets-Ornette vein.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3893768975\/album=2852408013\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Line is a central concern of the trio, but the lines are seldom straight, especially in Renard\u2019s \u201cLiquide.\u201d Like the squiggly cover drawing of the players, \u201cLiquide\u201d is loose and discursive with the three players coming together at the end for a statement over a strong rhythm.<\/p>\n\n\n\n<p class=\"\">The closer, Flouzat\u2019s \u201cLog Lady,\u201d is presented as a \u201cTwin Peaks\u201d homage, but it seems equally inspired by the log drums of African pygmy music, a longtime interest of Delbecq\u2019s. With the composer setting up a polyrhythmic groove over a pedal-point bass, Delbecq drops minimal enigmatic commentary, heavily pedaled and spacey.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3443824901\/album=2852408013\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">The piece\u2019s wide open texture is a hallmark of the recording as are the crystalline sonics. There&#8217;s never a sense of aimless noodling on Triple Fever. Delbecq, Flouzat, and Renard know exactly where they are going, playing with a strong sense of purpose.<\/p>\n\n\n\n<p class=\"\">That\u2019s a lot of words for a release that\u2019s barely 20 minutes in length, but there\u2019s a lot of music on Triple Fever, and hopefully more on the way.<\/p>\n\n\n\n<p class=\"\"><strong><em>Triple Fever<\/em> is now available on dStream. It can be <a href=\"https:\/\/dstream.bandcamp.com\/album\/triple-fever\" title=\"\">purchased on Bandcamp.<\/a><\/strong><\/p>\n\n\n\n<p class=\"\">Tracklist: 1. Kebled; 2. The Stone We Left Unturned; 3. Fever; 4. Liquide; 5. Log Lady.<\/p>\n\n\n\n<p class=\"\">Personnel: Beno\u00eet Delbecq (piano), Etienne Renard (bass), Guilhem Flouzat (drums).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just when you think we\u2019ve reached peak piano trio, a new recording arrives to demonstrate the infinite elasticity of the venerable formation. It happens so often as to become routine. Yet surprises still abound, and this is one, a digital-only EP from a hitherto unknown label &#8211; to me, at least &#8211; that is one [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":7830,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":111,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-7829","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?fit=1084%2C723&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-22h","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":4073,"url":"https:\/\/postgenre.org\/staging\/4567\/fujiwara-march\/","url_meta":{"origin":7829,"position":0},"title":"Review: Tomas Fujiwara&#8217;s Triple Double&#8217;s &#8216;March&#8217;","author":"Brian Kiwanuka","date":"February 27, 2022","format":false,"excerpt":"The debut recording of Tomas Fujiwara's Triple Double was extraordinary. The two-drum (Fujiwara and Gerald Cleaver), two-guitar (Mary Halvorson and Brandon Seabrook), and two-horn (Taylor Ho Bynum on cornet and Ralph Alessi on trumpet) structure of the band is something rarely seen. Even in the bold avant-garde scene that Fujiwara\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11220,"url":"https:\/\/postgenre.org\/staging\/4567\/review-fieldwork-thereupon\/","url_meta":{"origin":7829,"position":1},"title":"Review: Fieldwork&#8217;s &#8216;Thereupon&#8217;","author":"Jim Hynes","date":"September 1, 2025","format":false,"excerpt":"Fresh off their appearance at the Big Ears Festival, \u00a0which this author unfortunately missed, the trio Fieldwork return with their first album in almost two decades, Thereupon (Pi, 2025). You will likely not find three more decorated individuals in any trio than those in this band: Vijay Iyer, Steve Lehman,\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11104,"url":"https:\/\/postgenre.org\/staging\/4567\/scratch-band-ron-blake\/","url_meta":{"origin":7829,"position":2},"title":"Review: Ron Blake\u2019s \u2018SCRATCH Band\u2019","author":"Jim Hynes","date":"August 6, 2025","format":false,"excerpt":"For a musician who excels in both big bands and combo settings, large and small, sometimes it\u2019s refreshing to take a \u2018less is more' approach. Such is the case with Ron Blake. With SCRATCH Band (7t\u0113n33, 2025), the veteran saxophonist, composer, and educator forms a trio with fellow Virgin Island\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11472,"url":"https:\/\/postgenre.org\/staging\/4567\/review-jakob-bro-musasaki-montclair\/","url_meta":{"origin":7829,"position":3},"title":"Review: Jakob Bro\u2019s \u2018Murasaki\u2019 and \u2018The Montclair Sessions\u2019","author":"Jim Hynes","date":"October 25, 2025","format":false,"excerpt":"Danish guitarist Jakob Bro is the owner of the Copenhagen-based Loveland Records,, a label issuing two albums within a month of each other: the more recently recorded trio of Bro, trumpeter Wadada Leo Smith, and drummer Marcus Gilmore for Murasaki (Loveland, 2025), and The Montclair Sessions (Loveland, 2025), from a\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":12000,"url":"https:\/\/postgenre.org\/staging\/4567\/review-dream-archives-craig-taborn\/","url_meta":{"origin":7829,"position":4},"title":"Review: Craig Taborn\u2019s \u2018Dream Archives\u2019","author":"Jim Hynes","date":"January 13, 2026","format":false,"excerpt":"The first release by Craig Taborn since being named a MacArthur Fellow in late 2025, Dream Archives (ECM, 2026) finds the pianist\/composer leading an unusual trio with noted cellist Tomeka Reid and in-demand drummer-vibraphonist Ches Smith. All three are acclaimed bandleaders in their own right, with Reid having an extensive\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7829","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=7829"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7829\/revisions"}],"predecessor-version":[{"id":7838,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7829\/revisions\/7838"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/7830"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=7829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=7829"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=7829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}